Freckfest presents Blue Rose Code
Harbour Arts Centre, Irvine, KA12 8PZ
Sunday 4th October 2026
Following headline performances in ‘24 at Cambridge Folk Festival and Gate To
Southwell with his nine-piece Caley Soul band as well as a sold out bravura
show for Celtic Connections at Glasgow’s 1,400 cap Pavillion Theatre, Wilson
has spent the last few months reconnecting with his roots in live club
performance.
Touring solo, duo, or quartet in 2025, the shows have workshopped new songs
for 2026’s new Blue Rose Code studio album. The direction of travel seems to be
closer to the broad Scots Folk/Singer Songwriter style that brought him to work
with the likes of Karine Polwart, Beth Nielsen Chapman, Ewan McGregor, to write
for Steve Knightley, and open for heavyweights like Van Morrison, Deacon Blue
and the Proclaimers.
In any combination; solo, duo, quartet, Big Caley Soul Band, Blue Rose Code
simply has to be seen live.
“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 2025
Southwell with his nine-piece Caley Soul band as well as a sold out bravura
show for Celtic Connections at Glasgow’s 1,400 cap Pavillion Theatre, Wilson
has spent the last few months reconnecting with his roots in live club
performance.
Touring solo, duo, or quartet in 2025, the shows have workshopped new songs
for 2026’s new Blue Rose Code studio album. The direction of travel seems to be
closer to the broad Scots Folk/Singer Songwriter style that brought him to work
with the likes of Karine Polwart, Beth Nielsen Chapman, Ewan McGregor, to write
for Steve Knightley, and open for heavyweights like Van Morrison, Deacon Blue
and the Proclaimers.
In any combination; solo, duo, quartet, Big Caley Soul Band, Blue Rose Code
simply has to be seen live.
“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 2025