Thursday evening at The Louisiana—”The Louis” to anyone familiar with Bristol’s music scene—is a stomping ground for local bands and future legends, caught on the way up before the world catches on. Tonight it’s hosting a visiting shot of funky, honky-tonk LA glamour. The sun still stubbornly shines outside, making the idea of sealing yourself into a hot, windowless room feel like a big ask. A respectable crowd obliges anyway.
Supporting act Gia Ford is the kind of new artist that makes you glad you showed up early. Just her and guitarist Conor Houston on stage—armed with a pair of acoustics and sharp outfits—playing to a crowd that visibly grows as the set unfolds.
There’s nothing bog-standard about this. Instead of the predictable folk-songwriter strum-along, Ford and Houston trade interweaving guitar lines that lift her storytelling into something more interesting. Dark, sun-scorched, faintly trippy. Think Buckley and Laura Marling colliding with the guitar instincts of Queens of the Stone Age. It shouldn’t work on paper; it absolutely does in practice.
Ford draws from her forthcoming album throughout, closing with “The Porcupine” from her 2024 debut Transparent Things. There’s something quietly thrilling about watching two people roll into a room, hold it in their hands, and then disappear back into the night.
It’s time for Pearl Charles. Armed with a full band and a 16-track set, she wastes no time establishing the vibe. Decked out in turquoise rings, boots, cowboy hat, she carries enough warm California charm to make you forget the weather outside is doing its best to compete.
This isn’t her first time in Bristol. She’s genuinely chuffed to be back on UK soil—even if the tequila situation on this side of the pond remains distinctly subpar, she grins. The crowd skews older, and honestly, good. This is music that rewards people who know what they’re listening to.
Every member is locked in. “Tight” only begins to cover it. But the bassist deserves a special mention. His instrument feels less like something he plays and more a physical extension of himself. His effortless fingerpicking anchors the whole thing without ever drawing attention to itself.
Meanwhile, the guitarist coaxes a remarkable range of sounds and textures from a Stratocaster. A reminder of what a genuine workhorse that model is in the right hands. For a good chunk of the set, Charles switches to keys. It’s a welcome reminder that there are proper chops underneath all that breezy charm. She handles the transition with the ease of someone who’s been doing this long enough to know exactly when to shift gears.
“Sleepless Dreamer” settles the room early, while “Smoke in the Limousine” gets it moving mid-set. “City Lights” floats by with the easy grace of a song that knows exactly what it is. The undisputed highlight, though, is “Sweet Sunshine Wine” from 2021’s Magic Mirror. It fully earns its moment and then some.
There’s something genuinely refreshing about all of it. No dour art school kids strangling offset guitars here. Just good old-fashioned drinking music, played with a smile and a healthy dose of American optimism. In these wild times, Pearl Charles feels like a reminder of America at its most glitzy and fun. And right now, that’s no small thing.
Sixteen tracks might run a touch long for maximum impact, but that’s a minor gripe. Charles’ brand of sun-kissed, feel-good country-pop would arguably hit even harder on a festival lineup. More room for the songs to properly breathe, and room for the crowd to expand. But as a change of pace from the usual Thursday night fare, and a timely shot of transatlantic good-time energy, it more than delivers. They’re a band clearly having the time of their lives, playing music built for good times. Sometimes that’s exactly what’s needed.