Leonie began performing at the age of 5 and has never stopped….Her never ending tour has brought her to the furthest reaches of Britain, Europe, Japan & the USA. What sets her apart from just a discography and list of tour dates are the countless guest vocals, collaborations, performances in the streets and jazz clubs of New Orleans, London, Bristol, spontaneous jams at parties and festivals and, perhaps most precious of all, the sprawling web of connections growing between Leonie and her ever-expanding family of musical sisters and brothers.
Her output to date has included three exquisite albums of dreamy, jazzy, unclassifiable song craft as part of the Bristol-based quartet Rae, a series of limited edition solo CDs, and two solo albums. Her first, ‘Collaborations Volume 1’, featured Riognach Connolly (The Breath/ Honeyfeet), Brooke Sharkey, Liam Magill (Syd Arthur), Low Chimes, and Adam Beattie amongst many others.Her recently released second (‘Collaborations Volume 2’) was recorded in New Orleans, Los Angeles, Bristol, Brighton and Rabastens- Couffouleux in France, and features a glorious cast of forty one different musicians, including members of The Moulettes, the Rozi Plain Band, The Resonators, Tuba Skinny, The California Feetwarmers, Buddy Jazz Club, and Le Petit Orleans.
“”Like nothing else I’ve ever heard in my life, I was just blown away by her” Cerys Matthews, BBC 6 Music
“Jazz and folk flirt en route to New Orleans via Canterbury with Evans’ slinky, supple vocal…One slot on Later with Jools holland is all it would take” Prog Magazine
“Leonie Evans lends old-school sass” Evening Standard
“Magical” Venue Magazine
NEW ROOTS is committed to promoting events that shine a light on up and coming talent in the UK alt-folk and contemporary roots music scene. It’s committed to providing artists with an environment that is sympathetic to what they do, giving musicians the respect they and their music deserve – for this reason we ask for no talking and no use of mobile phones while artists are performing. Our music policy comes from the kitchen table, the roots of public performance- intimate, acoustic based, high quality musicianship with as little interference between performer and listener as possible.