Ross Wilson (Blue Rose Code) is, at once, one of Edinburgh’s favourite sons and still one of Scotland’s best kept secrets. A decade-long career has seen Wilson work with the great Danny Thompson, Eddi Reader, and most recently, co-write with English folk royalty – Steve Knightley. His records feature Karine Polwart, Ewan McGregor, and Nashville Gospel legends, The McCrary Sisters, along with some of the UK’s finest jazz musicians.
Wilson has opened for Van Morrison, he has toured with The Proclaimers and with Deacon Blue, and Blue Rose Code come into 2025 with a fresh wind in their sails. The last year saw sparkling reviews in the national press for award winning album, Bright Circumstance, radio play on BBC R2 & R6 as well as an appearance on the R4 institution Loose Ends.
Folk album of the year with 5-stars in the Scotsman, their song Sadie nominated for Song Of The Year at the Americana awards, a headline Sunday night closing slot at the legendary Cambridge Folk Festival, 2024 was a great year.
The plan for 2025 is to take duo shows out across the UK and Ireland, to smaller venues, workshopping songs for a new record and performing music from the BRC canon. Just read the quotes, they’re no joke, from The Times, Uncut, The Spectator. No gimmicks here. No smoke and
mirrors and no mistake. In the words of Americana UK, “One of the country’s best live acts right now! Get out and see them wherever you can!”.
“A set of almost religious intensity and sincerity. Wilson makes widescreen soul in the spirit of Van Morrison, and was full of the holy fire of live performance.” (The Times).
“Ravishingly beautiful, a burnished blaze of Caledonian Soul, muted jazz and poetic recitation” (UNCUT).
“Jubilant, prayerful, compassionate, Caledonian soul maestro Ross Wilson’s latest iteration of his Blue Rose Code band sees his songs bursting with heart” (The Scotsman).
“An expert ensemble, led by Edinburgh singer-songwriter Ross Wilson, brought the spontaneity and informality of an after-hours pub session to the Pavilion Theatre. The effect was both stirring and meditative.” (The Spectator).
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