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Album Of The Week: L.A. Salami

Album Of The Week: L.A. Salami

Elliot Ryder | Features & Interviews


Life is always better with a soundtrack, and time spent hard at work in the office is no different. Therefore, coming your way every Tuesday will be album of the week; a release we can't contain our excitement for or a record we have been reluctant to take off repeat since its first play. We’ll be putting the time in to explore the world of new releases on a quest to bring you the best. While we’re at it, just because we’re feeling generous, we’ll be digging deep into our collections and giving classic albums the airplay they deserve.

Dancing With Bad Grammar
(L.A Salami's debut album was warmly received by critics and fans when it came out last August) 

L.A Salami is all too aware of the rough edges of life. Instead of falling victim, he accepts their fate, smoothing them down through impassioned storytelling that elevates him from the continuous troubles of his reality. Having experienced life on the street before being gifted at guitar at the age of 21, the London singer songwriter’s personal struggle is the essence of his music. His ironic wit and soulful instrumentation holds up a cracked mirror for society to glare into, only to see its flaws staring right back.



Released back in August, L.A Salami’s debut album Dancing With Bad Grammar indulges in a classic blues aesthetic while remaining firmly fixed on modern culture. Tracks such as ‘Day To Day (For 6 Days A Week)’ and ‘The City These Days’ pin point the artist’s ability to deliver grounded music with optimistic undertones of escapism. Reloading the barrel with ammo from 2016, Dancing With Bad Grammar is an apt post blues accompaniment for times of perspective uncertainly.

L.A Salami will appear at the The Great Escape’s inaugural First Fifty from 22nd-24th November, taking place at selected venues in East London. The blues artist takes to the stage of Zigfrid Von Underbelly on Thursday 24th November alongside Brian Deady and Carys Selvey.



Words by Elliot Ryder
Photo courtesy of Tony Butcher

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