Motel Sundown’s Down in Laurel Canyon is a warm, finely honed love letter to the golden age of West Coast songwriting. In the intimate Music Room, the band opened with ‘Carry On’, the first track on Crosby, Stills & Nash’s Déjà Vu. America’s ‘Horse With No Name’ followed swiftly, setting the tone for an afternoon of chiming acoustics, tight three-part harmonies and a deep respect for the material that never slips into imitation. This ensemble plays the music from the inside out.
The Mamas and Papa of the collective are Motel Sundown, comprising Liverpool-based songwriters Naomi Campbell, Karen Turley and Robert Johnson. They were joined by Dylan Cassin (guitar and vocals), Tom Wilson (percussion), Sam Rabbette (bass guitar), Rich Smith (drums), Joe Griffin (keyboards) and MT Jones, Thom Moorcroft and Beth Volpicelli, expanding the trio into a full Canyon-era collective.
What followed was an affectionate tour through the classic songbook: Joni Mitchell, Crosby, Stills & Nash, The Mamas & The Papas, James Taylor and even The Turtles, with Naomi leading a buoyant ‘Eleanore’. Karen offered a brief introduction about Jackson Browne before easing into ‘Doctor My Eyes’, while Rob stepped forward on lap steel for Gram Parsons’ ‘Return of the Grievous Angel’ and Little Feat’s ‘Willin’, the latter beautifully paired with Tom Wilson’s vocal.
Thom Moorcroft delivered a tender, unadorned ‘A Case of You’, and Naomi rose impressively to the challenge of Linda Ronstadt’s ‘When Will I Be Loved’. Meanwhile, Dylan Cassin anchored the show from the first chord, his folk-rock sensibilities fitting naturally into the Americana palette. His turns on Neil Young’s ‘Down by the River’, The Doors’ ‘Roadhouse Blues’ and Buffalo Springfield’s ‘For What It’s Worth’ were gritty, lived-in highlights.
The first set closed with arrangements that stayed faithful without feeling fixed, shaped gently by brushed snare and flashes of lap steel. Dylan opened the second set with a fierce version of Neil Young’s ‘Ohio’. Naomi then shifted into singer-songwriter territory for Carly Simon’s ‘You’re So Vain’, before introducing Beth Volpicelli, who offered a glowing, tremolo-washed performance of Joni Mitchell’s ‘Woodstock’. A special word must go to drummer Rich Smith and bass player Sam Rabbette, for they are the show’s beating heart. Rich had the timing, groove and technique to support his fellow musicians, while Sam was the foundational rhythmic and harmonic anchor who locked in with Rich in supporting the band. From there, Canyon standards arrived in quick succession: ‘Mr Tambourine Man’, ‘You’ve Got a Friend’, ‘It’s Too Late’ (with guest singer MT Jones), ‘You’re No Good’ and ‘Take It Easy’. Tom Wilson returned for Little Feat’s ‘Spanish Moon’, and the ensemble closed with ‘California Dreamin’’ and ‘Wouldn’t It Be Nice’, before reassembling for a jubilant encore of ‘Love the One You’re With’. In the end, the audience response said what reviews often can’t. Down in Laurel Canyon isn’t a tribute show; it’s a shared act of remembrance, a celebration of craftsmanship, harmony and songs that still feel like home. Motel Sundown and friends make it seem effortless, and for a couple of hours, entirely timeless.
Naomi had informed the audience that the ensemble would be playing Liverpool Philharmonic’s main hall in January 2027, but before that they will be taking the show around the UK and Ireland.
Their next confirmed show is on Saturday 18th April at the Shakespeare North in Prescot, Merseyside.
Tickets are available here, https://shakespearenorthplayhouse.co.uk/event/down-in-lauren-canyon/
Reviewer – Adrian Cork
On – 30.11.2025
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