Luke Toms is an artist with a unique voice, individual ideas and above all a sense of style and panache that elevates this self styled "philanthropist, dandy and songwriter" head and immaculately scarved shoulders above the competition.
Depending on whether you believe him or not Luke was born in 1904, faked his own death in 2005, and currently resides in London, where he "explores life and pre-war jazz".
The veracity of that aside what we can be sure of is that as well as being a championship level moustache and beard grower recently relocated to seek his fortune in London from his native Cornwall with a dandy's taste in spats and cravats, he is a bright new talent who channels wry musings on life, love and romance through self taught multi-instrumental musicianship influenced heavily by - amongst other things - 1930s jazz and 1970s orchestral pomp pop like ELO to create a wholly original blue eyed soul stew.
Its no surprise any more to hear an artist proclaiming his love for music previously considered verboten, and Toms is no exception: you can hear the influence of the soft rock that his parents used to play, the prog rock that he loves for its "complete lack of musical rules", the eloquent madness of Viv Stanshall and the grandiloquence of celebrated moustache-wearer Freddie Mercury in his enticing blend of heart-tugging ballads, beautifully-orchestrated sunshine pop and unexpected experimental flourishes. But even today some areas of musical history remain immune to excavation and, it has to be said, the sound of his Gran's collection of 1930s jazz singer Al Bowlly records is among them. "Al Bowlly," he smiles, "The King. He's an absolute legend, his voice is unbelievable, so beautiful. It has this hazy romance about it."
Mixing the affectedly foppish airs of a Wodehousian hero with a dressing up box that stretches from 1920s Brideshead chic to Elizabethan ruffs Luke cuts a sartorial dash through the comparatively shabby current crop of skinny-jeaned guitar heroes. He is currently enamoured of taking to the stage conservatively dressed for tea with Ronald Firbank.