Dave Brons is that rare guitarist: Technically brilliant but melodic and soulful. He has a truly unique direction to his playing: He secretly wishes he played the ‘Celtic instruments’ and , as a result, takes his frustration out on the fretboard to dazzling and splendid effect!

Brons has Steve Vai sized axe chops but lets the Symphonic pallete do the Tolkien (sorry!), the widdle couched in beautifully realised mystical atmospheres that LOTR movie composer Howard Shore himself would be proud of.

Dave Brons is an imaginative player with a great groove. I loved hearing his unique take on my music when we played together and look forward to hearing a lot more music from him

Not since Jeff Wayne’s legendary opus ‘The War of the Worlds’ have the twin arts of music and literature been so perfectly and wonderfully intertwined as they are in this new release from Dave Brons.

[Return to Arda is] one of the best instrumental guitar albums that I have ever had the pleasure of listening to […] It is simply beautiful music that is masterfully made.

Celtic-tinged Prog is alive and well, especially ever since the demise of the magnificent Iona back in 2000. Guitarist Dave Bainbridge has gone onto a solo career with a slew of nine releases, that have garnered glowing reviews.

The other Dave, our Dave, has played with Bainbridge before, now branching out with his fourth studio album “the Fellowship”. The combined previous thirteen releases were given the loftiest praise by this writer and as such, form a solid Celtic Prog discography alongside many the Morrigan and Colin Masson albums, as well.

No massive stylistic change here, Brons forges on with a lush extravaganza that has all the elements needed to be a most successful listen. The core band has the talented Daniel Day on whistles, bass and keys, drummer John Biglands (who also adds keyboards), and the exemplary vocalist Sally Minnear (who is Bainbridge’s main foil).The Celtic cavalry is further solidified by the in dominatable Troy Donockley and Catherine Ashcroft on Uilleann pipes, violin by Matt Steady as well as cello from Ian Brons. Stephen Bradnum does brass and choir arrangements and Mark Swift the piano chores. Fifteen tracks with a running time 76 minutes, means that this is not a singles album, but an entire musical saga meant to be ingested as one single experience, merging historical background and with modern electric interventions.

“Shadow of the Past”, sets the shrouded mysterious atmosphere, and as befits the topography of the Scottish and Northern British areas, the travel through all the peaks, valleys, streams and lochs will provide a multitude of emotions. This recipe is immediately stamped by the rather boisterous “Nameless Fear” with its glittering Brons guitar screeches and bellowing vocals, followed by the redolent fluidity of “Over the River”, where Minnear’s voice gets to wade above the waves, at first rather gingerly, then with some elevated gales of energy. You want some tracks possessed by soaring and immaculate beauty? “Aragorn” surely fits the bill, initially grandiose and majestic, based on the fictional Tolkien character, and the ideal platform for the pipes to swarm the senses with a whirlwind demonstration, especially when Brons’ axe carves up the theme and slices like a razorblade. Excellent! A moment of pensive reflection on the magical violin-driven “The Road Goes Ever On”, really comes as a welcome diversion into a folkier sound, pastoral and melancholic, utterly Celtic and profoundly hypnotic. The Rogue is an outright sucker for this gentler, medieval style.

The shift to anthemic themes are also prevalent on edgier tracks like the hopeful sentiment-laden “Just One More Step” as well as the towering “Flight to the Ford” and its stunning choir section, underpinned by insane corkscrew fretboard work and powerful rhythmic mayhem, eventually settling into a more linear flight and a lovely piano finale. The instrumental title track on the other hand, portrays both extremes, the electricity of the rasping guitar, the abundant melodic backswing and a more cinematographic arrangement, with piano adding ornate elegance to counter the sizzling energy, with Brons offering a vintage Robin Trower-like performance, as the power notes burn and crackle. The choir backdrop supplements all the amplitude required. From this moment on, beginning with the intriguing intro “The Voice of Saruman”, the combines six tracks (clocking between 4 and 5 minutes each) act like a suite, the hazy “Mines of Moria” soon deviating into grandiloquence, shifting to the compelling “Mirror of Galadriel” maintaining the Tolkien-esque theme with a moodier presence, a stage for Sally to soar delightfully, in harmony with the crisp piano work. “The River Anduin” maintains the flow, a heady combination of serenity and willpower, while the brassy “Whatever it Takes”, a rather straightforward ballad that shimmers with delight, amazing bass and superb vocals, gathering steam and fortitude. And in conclusion, the ethereal “Let the River Take Him” sending the burning funereal ship into the night, heading towards its final resting place on Iona and the resolute pipes serenading in homage.

A welcome addition to Brons’s discography, perhaps a few more revisits will help it attain the genius of both “Return to Arda” and “Not All Those Who Wander Are Lost”, which remains precious gems in my prog jewelry cabinet.

Dave Brons is an exceptional guitarist, with a particular ability to conjure a superb, spine tingling, lyrical tone from his guitar. His impressive technical facility never overshadows his innate melodic sensibility and musicality. ‘Star’ demonstrates Dave’s vision to integrate cinematic orchestral textures with soaring guitar leads, which combine to touch the heart.

‘Not All Those Who Wander Are Lost’ is an album that works on every level, with stunning musicianship and melodies that I for one will never tire of hearing. Dave Brons set himself a monumental task with this album and has pulled it off in style.

Ultimately, The Fellowship succeeds because it understands that truly epic music isn’t about constant intensity, but about contrast, tempo, and emotional truth. Dave Brons doesn’t just play guitar—he tells a story through it.

With “The Fellowship,” Dave Brons creates a musical journey that feels like a quiet step along familiar, yet ever-new paths in Middle-earth. Also featured is Troy Donockley (Nightwish) – known for his distinctive pipes and folk sounds.

From the very first note, that special tension familiar from Tolkien’s world unfolds: the peaceful security of the Shire – and the barely perceptible, yet steady approach of darkness. With this album, Dave Brons reaches a new artistic peak – not simply by increasing the scope, but by refining the interplay of emotion, sonic texture, and composition into a truly captivating listening experience. This is an album that thrives on contrasts: between silence and grandeur, fragility and strength, intimacy and cinematic expansiveness.

The opening track, “Shadows in the Past,” immediately sets the tone. A solitary piano melody conveys a sense of quiet contemplation before the music gradually expands into a multi-layered orchestration and Brons’s signature guitar phrasing. What’s striking here is how naturally the track unfolds—never forced, always organic—until choirs and sweeping arrangements evoke the feeling of awakening to something greater than oneself. It’s less an intro than a threshold.

“Nameless Fear” dramatically alters the sonic palette. The heavier guitar sound creates a sharper edge, almost bordering on Tolkien-inspired progressive rock. Yet despite its power, the track avoids any bombast for its own sake. The vocals—restrained, almost ghostly—float above the instrumentation instead of competing with it, and are more reminiscent of Sally Oldfield’s understated elegance than the theatrical exaggeration of symphonic metal.

An atmospheric highlight is “Over the River.” The introduction of Celtic bagpipes immediately shifts the emotional tone, anchoring the piece in something earthy and human. The rhythmic pulse—almost tribal in its persistence—generates forward momentum, while Brons’ guitar hovers above it like a leading voice. The solo in the second half is one of those rare moments where technical skill merges into pure feeling: unmistakable, instantly recognizable.

The first instrumental centerpiece, “Aragorn,” demonstrates Brons’ compositional intelligence. It begins with a simple melodic motif before gradually unfolding into something larger, carried by marching percussion and evolving harmonic layers. The recurring theme, subtly varied, provides cohesion while allowing for emotional development. There are fleeting echoes of Steve Vai in the phrasing, but Brons never loses his own identity.

The album’s quieter moments are equally essential. “The Road Goes Ever On” and “Just One More Step” strip the sound down to piano, acoustic guitar, and shimmering vocals. These pieces breathe. They allow silence and space to become part of the composition, creating a sense of vulnerability. When the music finally builds again, the effect is earned, not forced. “Fight to the Ford,” with its complex guitar work and shifting rhythmic structures, brings renewed urgency into play.

There’s a subtle neoclassical touch here—perhaps a distant nod to Yngwie Malmsteen—but it’s always filtered through Brons’ melodic sensibility. The abrupt return to a solitary piano at the end is particularly effective, allowing the intensity to dissipate into silence. One of the album’s most ambitious tracks, “The Mines Of Moria,” showcases rhythmic layering and technical precision without sacrificing atmosphere.

Brons himself remarked: “I’m very proud of the arpeggio part in ‘Mines of Moria’ – it’s a sophisticated technique I use for it.” This section impresses not only with its execution but also with how it propels the narrative tension forward. Later tracks like “The River Anduin” explore fluidity and movement through shifting dynamics and evolving guitar lines, while “Fellowship” delivers the album’s most overtly orchestral and bombastic statement – ​​before deliberately dissolving into more experimental territory midway through.

With the closing track, “Let the River Take Him,” the album returns to restraint. The melody mourns, yet never descends into despair—instead, it offers a calm, dignified resolution.

Ultimately, The Fellowship succeeds because it understands that truly epic music isn’t about constant intensity, but about contrast, tempo, and emotional truth. Dave Brons doesn’t just play guitar—he tells a story through it.

Lukas R.

Standout quote from the review:

I am truly overwhelmed by this album: the musicians’ craftsmanship, the compositions, the atmosphere, and the way in which Tolkien’s fantastic books are brought to life through music. There have been various bands and artists who have done this, and often quite well, but Brøns is absolutely the best at it.

Rating: VETTE KRENT (I think this means : Very Good – Dave)

BRØNS
The Fellowship
(SELF-RELEASED)
Previously, the studio albums by the super talented English guitarist Dave Brons were
released under his own name; now it’s Brøns and it’s become a band.

The band consists of Brons (guitars, keyboards), Sally Minnear (vocals), John Biglands (drums, acoustic guitars and piano), Daniel Day (bass, keyboards and Irish whistles) and Mark Swift (piano).

We also hear contributions from, amongst others, Troy Donockley (uillean pipes and flat pipes), Dave
Bainbridge (keyboards), Catherine Ashcroft (uillean pipes), a brass ensemble and a choir.

As we have come to expect from Dave Brons, the music is inspired by the fantastic books of
J.R.R. Tolkien, this time in particular by the story of The Fellowship. Most of his earlier
albums featured a mix of sung pieces and instrumental guitar music, but The Fellowship has
turned out to be primarily a vocal album, with the beautiful and haunting voice of Sally
Minnear taking centre stage.

The opening track Shadow Of The Past is immediately a brilliantduet between Brons and Donockley and bodes well for the rest of the album. As we’ve cometo expect from Dave, his music has a heavy edge at times. Nameless Fear, for instance,reminds me a little of Ayreon’s folk metal. The menacing opening of this track could easilyserve as film music.

That cinematic quality returns in The Voice Of Saruman. In my opinion,the highlight of the album is the beautiful folk-rock song Over The River. Here it is so clear to hear that we might well call Brøns the new Iona.

This can also be heard in I Will Go and the instrumental The Road Goes Ever On.

The fact that Dave is an outstanding guitarist is particularly evident in The Mines Of Moria. I must also pay tribute to Biglands’ outstanding drumming and the quality of the recording.

The final track, Let The River Take Him, featuring Donockley once again, is deeply melancholic and evocative.

I am truly overwhelmed by this album: the musicians’ craftsmanship, the compositions, the atmosphere,
and the way in which Tolkien’s fantastic books are brought to life through music. There have been various bands and artists who have done this, and often quite well, but Brøns is absolutely the best at it.

And the story isn’t finished yet, so there’s more to come.

Paul Rijkens, Dutch progressive rock magazine iO Pages