This week in the Shirwell studio we finished mixing two tracks that will appear on the streaming player and on the Black Horse physical release. One is a refreshed vocal take on a song fans first heard decades ago; the other is a brand-new arrangement built around live drums and a full backing choir.
Shirwell Bancan has spent more than 45 years writing original music — not covers, not syndicated playlists, but songs that started as handwritten lyrics and late-night demos. The official Shirwell Music player on this site is the primary way to hear that catalogue: every track is owned and published by Shirwell Entertainment, and new uploads are added as masters are approved.
Live work is picking up again after a long stretch focused on studio time. We are booking smaller theatre shows and private events where the set list mixes classic ballads with rock-forward numbers like Baby Gonna Rock and Lily the Dancing Machine. If you are planning an event and want Shirwell on stage, use the Contact page — we reply from shirwellentertainment@gmail.com.
For listeners who want more than streaming, the CD and vinyl section documents the Black Horse limited edition: fifteen tracks chosen to represent the arc of Shirwell’s songwriting, each with its own CD artwork panel. Physical copies are produced in short runs; when a batch sells out, the artwork and track notes remain here as part of the permanent catalogue record.
Thank you for reading and for supporting independent music. The next issue will cover the Black Horse vinyl artwork and how the album title track became the visual centrepiece of the release.
If you are new here, start with three tracks that show the range of the catalogue: Kissing for contemporary production, Come on Babe (Version 2 — louder) for classic rock energy, and Glorious Days (Echoes of the Don) for narrative songwriting. Each has a written note on the Discography page explaining when it was written and why it was chosen for the Black Horse sequence.
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