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Dan Jordan

Songwriter | Storyteller


Behind the Music

About Dan Jordan.

Born and raised in Wales, slowly shifting across the map, rolling from sleepy, tucked away towns and villages, (the types of places whose names seem  hazily familiar but are scarcely recalled) and onward to the city-scapes, all the while taking in off-the-cuff inspiration, inspiration that is then moulded into what could be called “songs”. A collection of intimate stories and broad observations. A disgruntled library that gathers dust in the mind until they are call upon once more.

A Conversation:

There has rarely been a moment where Dan has not been part of a music scene (in some form or another). Dan explains, “It seems that, wherever you are or wherever you base yourself, musicians just…emerge, they surround you and form around each other as if there is a natural instinct that draws us to like-minded people”.

After years of playing on many other’s songs, Dan started to write more and more of his own tales and musings. On writing as part of a band, Dan says, "There are always things that you feel need to be said or stories that you want to tell but they don’t always translate whilst wearing another man’s suit - and I mean that graciously”. And so, song writing became more of a solo endeavour. He explains that, “it was a nice feeling to ‘come home’, to find my own way of conveying a story for the first time without having to stray into the potentially muddy rivers, caused by sharing a song between many cooks”.

With the exception of the obvious first album (seemingly written “in a haze” with Bob Dylan records playing on his mind) Dan says that any influences, either musically or artistically, have never been, “consciously mimicked on the records”. In the case of the first album, Dan was, “looking for a simple, musical style as a means of direction”. After this, he realised that, as long as the core stories are there, this "style" could find him instead and so the ethos seemed to be "let's see what comes out naturally". If any influences have indeed seeped into the way Dan writes over the years since, then he hasn’t noticed and nor does he seem to really care. Instead, Dan explains, “I love hearing people tell me who my influences are instead – musically, I have no clue! I've always thought that one is not the best person to describe oneself, so in that regard, I don't have an opinion either way”. Everything and nothing?

In a way, it may be that any limitations could very well be Dan’s greatest distinction. In his own words, “I have never called myself a guitarist, a pianist, a singer. I'd feel like a fraud if I were to label myself with these wonderful titles. What is important to me is that I can convey my stories in a simple manner”. Dan goes on to explain that, “Generally, I try not to put too much thought into the music. Once the chords are in place, I usually run with the first idea I get for any of the parts. It’s very natural, fluid. They’re usually recorded in one or two takes and as soon as that track is down, I forget about it and move on. It’s a quick process. It takes longer to re-learn the songs so that we can play them live! But I like this way of recording and writing, it’s organic in the way that they seem a lot more alive when improvised, you get lovely, nuanced moments to your song this way, it’s very of the moment, not forced”.

The songs are also recorded using scrounged instruments and recording spaces that were 'utilize' when the opportunities presented themselves. This may go to some way in explaining the sometimes erratic soundscapes and crude recordings within the older records. As Dan explains, “You don't need to pick up the best or most fancy instruments to get your point across. Hopefully, I like to think that I can scrape by on the merit of a half decent song or tale”. 

As for playing live, Dan has his makeshift (and ever-evolving) band; "The Warbirds", of which you may never see the same line-up at any two gigs! However, the band does feature two long-term members (and good friends); Sam and Patti.

With Sam’s wonderful electric guitar touch, tone and expression and Patti’s technical and soulful playing style on violin, “The Warbirds” are a perfect backing to Dan’s story-telling. Whilst recording new material as and when the mood hits him, the band have also been busy re-working all of their ‘classics’ from back- catalogue and, are very much looking forward to playing them live for you, real soon!


   Oct, 2023

   Recently, we have been working on some new tunes and, we're happy happy to say that, our latest E.P; “The Trouble With Monsters”, is now available to stream and download! 

   Seven brand-new tracks by Dan Jordan and featuring, some very dear (and gifted) friends and musicians, including classical pianist Gheroghe Simion, celloist Alistair Howes and guitarist Sam Harman. 

   A big "thank you for all of the support whilst we worked on this project - more news coming your way, soon! 

LISTEN ON SPOTIFY:             Click Here.


  AUG, 2022

   So, we've just discovered that (somehow), we are in the running for the Welsh Music Prize!

   The sheer fact that we have been acknowledged for our latest album; "Road to Ruin", amongst other artists such as Stereophonics and Manic Street Preachers, is an absolute delight. This alone is genuinely enough of an honor however, if you did want to vote for us, it would mean the world.

   Please click here to vote for "Dan Jordan" and our album "Road to Ruin" 
  For more information, including other nominated artists, click here.



  AUG, 2022

   Wow, it has been a while, hey? We hope that you have all been keeping safe and well!

  So, after a great reception from one or two recent, smaller gigs, Dan is pleased to say that we will be making an effort to get back out there and "start-up" again. So, keep an eye out for dates which, will hopefully start rolling-in soon.

  In other news, we've also been working hard on a few new tunes and are hoping to release some singles in the months to come. We also have something really special that we are working on but, more info on that to come...!

  In the meantime, why not pop over to our official FB page and say hi? 

   As always, thank you all for your support and kindness. Stay safe!



  OCT, 2021

   The all-new "Dan Jordan Youtube" page is finally here and yes - this now includes (in it's entirety), the brand-new album; "Road To Ruin"!

Dan Jordan on YouTube.

   Ah, but wait - there's more! Why not click here and take a listen to "Episode 1" of the brand-new podcast; "Dan Talks Music", where Dan reflects on his musical influences?

   As always, thank you all for your support and kindness. Stay safe!



  September, 2021

Well hello everybody. Hope you are all doing well?! 


As like most artists, Dan has been busy working away on some new tunes during the lock-down. Well, 

exciting times indeed because, the new album; "Road To Ruin", is finally here!


Marking Dan Jordan's 8th solo release, "Road To Ruin" is now available to stream and download. Check it out and let us know what you think:

LISTEN ON SPOTIFY: click here.



   As always, thank you all for your support and kindness. Stay safe!

"Road To Ruin" written by: Dan Jordan.

Performed by: Dan Jordan and featuring: Sam Harman, Matthew Taylor, Matthew White & Mark Thomas.



  September, 2020

Available now on digital platforms, the new E.P. by Dan Jordan, featuring 4 original tracks:

"Darlin', Don't Go Easy"

"Water Horse"

"Bronze And Blue"

"Assume I'm Wearing Black"

Take a listen by clicking on the links below and, as always, a big thank you for all of your amazing support! :)

Spotify: click here

iTunes: click here




The Trouble With Monsters

These Kinda Things

On Your Mind


Death Valley

Let My Body Burn


Death Valley (Instrumental Version)

Let My Body Burn (Combustion Remix)


Dan Jordan: Guitar / Vocals / Everything Else

Sam Harman: Electric Guitar

Elena Rose: Backing Vocals

Gheorghe Simion: Piano (Death Valley)

Alistair Howes: Cello (Death Valley)

*Tracks 4 & 6 Written With: Gheorghe Simion

*Track 7 Remixed By: Sam Harman

Spotify: Click Here

Apple Music: Click Here


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Select An Album


Ballad Of Bob Dylan


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War Is On


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King After Midnight


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Wine, Spirits, Tobacco


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Live Takes (Part I)


(Lyrics not available)
Live Takes (Pt 2).jpg

Live Takes (Part II)


(Lyrics not available)
Smoke signals.jpg

Smoke Signals


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Road To Ruin


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The Trouble With Monsters



Album / Single Reviews

"Dan Jordan & The Warbirds make music that is direct and from the heart. It is timeless song-crafting that revels in its making, its crooning, its guttural lyricism and its simple arrangement - carried out perfectly" - Swansea Fringe Festival.


The late John Gibbens, a former colleague of mine and the author of a guide to Bob Dylan’s music, The Nightingale’s Code, used to start talks on the master singer/songwriter by playing a Dylan instrumental.

Slightly bonkers, one might say. But I think he was making the point that the essence of what Dylan was about could be heard in his music as much as in his words – particularly in its rhythm and its mood.

Somehow this came to mind when I was listening to the final – instrumental – track on the new EP from Pembrokeshire musician Dan Jordan, The Trouble With Monsters.

Death Valley is a cinematic Morricone-esque mix of melancholy and poignancy (co-written with pianist Gheorghe Simion) – dark and yet uplifting in the midst of bleakness. This seems to be what Dan Jordan is about; and when he adds his words and his singing on the vocal version of Death Valley, we are taken even further into the heart of a harsh world.

Jordan’s voice refuses to be sweet or pretty – and is definitely not your friend. It comes from the Cave/Cohen/Dylan school of uncompromise, laden with doom, telling you the way things are, whether you like them or not.

Perhaps in recognition of that, he employs the totally contrasting voice of Elena Rose to balance things out a little soundwise and to sharpen up the impact of his lyrics.

These Kinda Things uses the two voices to good effect to create an elegaic lament for stuff going wrong, while On Your Mind has an almost folky sound – but very much from the dark end of the folk spectrum.

Quicksilver is perhaps the most impressive track, illustrating how Jordan is not that interested in conventional approaches to song presentation. Here the song seems to become a journey, a musical and mysterious development that unfolds, taking you from A to Z rather than just circling around A and B.

Jordan has something special. His songs are very much him and very much complete. They sound like they come naturally but they are no doubt the result of a lot of hard work as well as hard talent. And all of that deserves wider recognition.



by: Welsh Connections

Dan Jordan (and his Warbirds) have carved out an Americymru niche for themselves in a low key and unobtrusive way - which is why some of you will be asking ‘who’ ? Well, if you like your music with a touch of Nick Cave, Tom Waits and/or Leonard Cohen with a pinch of Dylan (Bob, not Thomas) you really should check this guy out.

Gritty lyrics with even grittier delivery but with patches of disguised humour throughout. For those of you already familiar with him you’ll know what to expect - but do you ?

This new collection is familiar and, dare I say, comfortable in places but it’s also a further development of Dan’s songwriting style and delivery.

Always entertaining, sometimes challenging but never disappointing. Check him out.



by: Get The Chance

Dan Jordan and The Warbirds evade categorisation. They are poetry. They are music. They are outlaw country. They are moody blues. They are folk storytelling. They are heavy metal vocals. The only seminal thread that runs through their latest album, Road to Ruin, is main man Dan’s clear connection to the music of Bob Dylan. He may not readily admit to such an influence being a conscious thing, but it is apparent that his time spent with Dylan over the course of his first album has had a lasting effect. His vocal delivery may not be to everyone’s taste, but one should at least be able to appreciate the hard-felt poetry that emanates from it.

Opening track Slow Burn may get off to a slow start but its first few moments of silence create a real sense of anticipation. A whirring cymbal then comes spinning into existence before being knocked sideways by the hard keys of a piano. It introduces the heavy beat which symbolises much of the album’s dark veneer, Jordan’s own smoky Dylan-esque vocals then coming in to add further shade. There is a sultry otherworldliness to the piano and electric guitar which gives it a certain intrigue and stops it descending into a black hole. The various mixing of genres, from the Latinized Country of Rider to the Metalized Blues of Run, have a similar effect, the poetic nature of Jordan’s lyrics also contributing to this sense of fascination which surrounds much of the album.

Each track is greeted with surprise. Each offers something slightly different from the rest. Ain’t Got Nothin’ may have a classic Blues structure but Matts White and Taylor bring some wonderful organ and electric guitar respectively to give it an added dimension. The soft and delicate composition on Seven Deaths of You creates a beautifully light atmosphere which allows deeper access into Jordan’s poetry. There is a real slice of folk storytelling here, delivered rather nicely through a deep voice that contains the faint presence of delicacy and vulnerability. Sweet City Ruin manages to uncover this further in lines like “stumbling through the city like a spectre” and “all you want is for the world to know that you were here” even as they are hidden behind the up-tempo, western swing style music.

There is a mythical quality to Elena which could be said to draw on folk tradition. The track that follows, Nightingale, certainly seems to suggest a strong folk influence upon Jordan’s work. His always gritty and grave delivery never allows for the same cadences that one might find among the typical folk singer however, meaning the loss of emotionality to some degree. What is lost here though is made up for in another unexpected musical addition, this time the introduction of pop elements followed by a sudden flurry of different instruments that take the album in a completely different direction. It means that, even as Jordan’s vocal starts to feel staid, there is enough originality to keep you listening right to the end.

Final track This Land has No Name is definitely worth sticking around for. On its musical surface is a wild west evoking landscape, complete with tolling bell and front porch guitar. It is the country music of the outlaws, reclaiming their rural roots from the urbanisation of an earlier sound. Dig a little deeper into the lyrics, and you begin to see the parallels. Yet this song speaks not of a place across the pond but a land much closer to home. Those “structures… crooked… battered” are the stone houses dotted across the countryside. The “roofs mad