Appropriately for Halloween, the Philadelphia based singer-songerwriter Lizanne Knott cast a musical spell over her audience when she finished her British tour at the Guildhall. Her latest musical project Hey Harley is a collaboration with the equally talented Bill Reveles, and their blended voices and guitar styles covered a lot of ground, from new age ambient to gospel, blues, and folk. The duo played a set that was largely made up of their own quality songs, but they also had time for a number of covers. Although not household names, the duo have seen their songs feature in a number of top rating television programmes and films such as True Blood and Dawson’s Creek. There was no-room within their compositions for solos or improvisation, but they took an almost painterly approach to their work, each note was carefully weighted to allow for the most impact, and their songs were largely of a narrative nature, ranging from songs about parenthood to the environment. Lizanne Knott’s, pure, clear pitched voice has made her a favourite with Bob Harris’ Old Grey Whistle Test and the songs work on the radio, but in a room with the acoustic of the Guildhall the songs had extra depth and lustre. Starting with the hopeful, gospel tinged Wonderful Day it was soon clear that we were in safe hands, and a life spent in concert halls has prepared the duo well. The economic situation was touched upon with Die in this Town, while the bluesy Could Have Been My Man would have sounded at home on any mainstream blues album. Bill Reveles’ first solo spot consisted of the sad ballad That’s The Way She Loves. A comedy song, Jesus or Elvis, had its impact somewhat softened with the juxtaposition of a bed of minor chords, while the first set closer Carry You Home was a song written for Lizanne Knott’s daughter, which had a far deeper resonance. Much of the same ground was covered in the second half, although at points to a far deeper level. For Somebody and Love Has Passed Me By were songs about the human condition and love lost, before Lizanne Knott gave full rein to the bluesy timbre of her voice during the traditional Big Road. The set closed with a full bodied reading of Forgive Us – a ballad that spoke of religion and redemption. Fittingly, a reading of Dylan’s Knockin on Heaven’s Door was the encore, but a slightly different arrangement and shared vocal duties lifted it above the ordinary.