It sounds like one of those horrible memes you see on LinkedIn – as an aside, what a truly awful place that is – but the words “be so good they can’t ignore you” apply so clearly to Elles Bailey.
It must be getting on for a decade ago now since one of my best mates saw her slap bang in the middle of an acoustic three-band bill in a pub on the outskirts of Birmingham. When I saw him a few days later, he was still telling me about this woman he’d seen with an incredible voice and brilliant songs.
Fast forward to 2026 and Elles is being played on Radio 2 and touring proper venues, all built on the back of that talent and an incredible work ethic. And all the while, she’s never been anything other than lovely, at least in my experience. I’ve had some dealings with her over the years – reviews, MPs landing in the inbox and so on – and she appears to be the nicest person in rock ’n’ roll.
So when she started posting old photos on Instagram a few months back and asking fans why, I assumed a Best Of was coming and she was about to put her feet up for a bit.
For the millionth time in the world, Andy was wrong.
What it actually heralded was a new album. A different album. Produced by Luke Potashnick – immediate bonus points for that alone, given he’s in The Temperance Movement for goodness’ sake – and recorded with a stellar cast of musicians separate from her live band. Created over a three-year period, and drawing on songs whose roots stretch back almost a decade, the eleven tracks on “Can’t Take My Story Away” are Elles Bailey. Fully. Honestly. Vulnerably.
The title track sets the tone immediately and might just be the most personal thing she’s ever written – a statement of intent, a declaration of truth, and delivered with that unmistakable, soul-drenched voice. “Growing Roots” follows with a funkier Americana sway, hinting at Lambchop in its groove, complete with classy backing vocals and a beautifully understated solo.
“Better Days” brings a sense of light at the end of the tunnel, once again underpinned by the sheer class of the musicianship, while “Blessed” strips things back acoustically, fragile and reflective, quietly searching for brightness in darker moments.
“Constant Need To Keep Going” captures the restless wanderlust of a troubadour, before “Take A Step Back” leans into something timeless and soulful, vamping and swaying with effortless confidence. “How Do You Do It” pushes further into the blues, worn-in and warm, while “Angel” has that uncanny quality where it feels like it could be a cover – the saxophone in particular is just gorgeous.
“Dandelion” continues that feeling, led by beautiful piano lines that linger long after the song ends, before “Tightrope” arrives and arguably steals the entire record. Wonderfully raw, emotionally exposed, and utterly compelling, it’s the moment where everything feels laid bare.
Closer “Starling” is the perfect way to finish. The strings soar exactly when they should, the arrangement gradually building until it feels both intimate and expansive – a full-circle moment for an album rooted in reflection and resilience.
A record that clearly means the world to her, and rightly so, “Can’t Take My Story Away” is different, yet somehow fits perfectly. Indeed, you might say that Once upon a time there was a lady called Elles, and she was brilliant. This album is a testament to what can be achieved by simply being damn good and working incredibly hard.
Rating: 9/10
