I shouldn’t be here tonight. Recovering from a mild, but no less infuriating cold, my head is throbbing with a vigorous pulse while my nose seems intent on producing significant amounts of thick runny stuff as I hurriedly make my way to the 12 Bar Club. It’s Kenneth Ishak that is drawing me here, or rather his voice; his soft, flowing voice radiating with his Nordic charm, and that has held the music of Norway’s Beezewax together with such rare effortless ease that makes him one of those special singer / song-writers that you hold so dearly, his music possessant of something so classic, so wistful, so fragile and so personal that you immediately blush at the thought of someone catching you listening to it.

Tonight I was venturing out on my own, to the intimate 12 Bar Club to catch a rare acoustic moment with Ishak, where I could integrate myself into the tiny venue’s dark smoky confines and hide in the corner whilst absorbing his smooth dulcet tones. It matters not that I’ve yet to hear his solo material. I mean, why should it when Beezewax have crafted some of the most sparkling indie-pop gems ever written on their last two albums ‘South Of Boredom‘ and last year’s classic ‘Oh Tahoe’.

Feverishly holding my glass of hot water & whisky I huddle into a corner as Ishak gently plucks at his guitar, his distinguished vocals soaring up to those seated in the balcony, his voice tense with passion, with true feeling. These are his first UK acoustic shows, yet while he occupies the stage you sense you’re in the presence of a legend in waiting, a cult hero exuding a simplistic modesty, a carefree aura, his heart beaming through a wide, soft-eyed smile. I find myself drifting subconsciously out of the room, lost in his songs, my destination reliant on which way the wind of his voice blows. It isn’t Beezewax though - with titles like ‘Down The Isle’, ‘Baby’ and ‘We’re The Same’ these songs are much more intimate and characteristic of a much more laid back vibe.

Still it doesn't stop my head pulsating, with my hearing dampening by the minute. But it doesn’t matter. I’d rather it pounded in time to Ishak’s tonal vibrations than the rattling of the underground tube. Besides, he’s just about to play an acoustic version of ‘The Brighton Concorde’ from ‘Oh Tahoe’ after a request for a Beezewax song from yours truly and another fanzine writer present. It’s the first time he’s attempted it like this so he’s forgiven for a couple of mistakes, but unsurprisingly it comes off sounding as spectacular as the original.

But despite all of the above I’m still reluctant to let any of you in on this music. It’s mine, you see. Mine. It’s too special to waste on anyone not prepared to let it sink into their lives, to have it replay in their heads on that long train journey out of town, to have it always near. So for the uninitiated I’d recommend ‘Oh Tahoe’ first, then after a few weeks I think you’ll be ready for Ishak’s solo material.