Keith James presents an honest and loving reflection of the timeless and insightful music of Yusuf - Cat Stevens
The amassed body of music from this hugely popular and sincerely adored singer-songwriter made for a collection of 'must have' records across a whole generation. Tea for the Tillerman and Teaser and the Firecat were on everyone's turntables and on every radio station, live versions are played in concerts, bars and on the world's beaches to this day. Songs such as Wild World, Father and Son, Moonshadow and Where do the Children play have been covered by hundreds of Artists worldwide.
Keith James, is a well respected and inventive guitarist singer-songwriter who specialises in performing intimate, carefully researched biographic style concerts. He weaves the story of Cat Stevens’ life from his early pop career, life threatening illness and spiritual journey around a performance of his well crafted and memorable songs.
This concert will give you far more than just the music itself...
There is a huge amount of insight into the history and the spirit of Cat Stevens; his early pop career, his illness that changed him existentially and spiritually into an incredibly thoughtful and loving singer songwriter; such that his songs are remembered instantly for their uplifting sense of truth, promise and human fragility.
Much to talk about about the background and embryo of each song.. some of which will be performed as all of us remember.. and some, carefully and intuitively re-voiced - respectfully re-interpreted with rich, balanced guitar arrangements and a more personal vocal approach.
Proceeds and audience donations from this tour of concerts will go to the UNICEF UK Syrian Children’s appeal.
‘Some of the most atmospheric and emotive music you will ever hear’ The Independent ‘Keith James has become a pillar of trust. A sublimely intimate and engaging voice’ Sunday Times
‘certainly the UK’s most celebrated and evocative interpreter of golden music’ The Guardian ‘a sensitive and pleasingly understated delivery, all the better that the songs might speak for themselves’ Acoustic Magazine