Conner Reeves Presents 'A Slice Of Soul'

Conner Reeves emerged in the late 1990s as one of Britain’s foremost singer-songwriters, earning BRIT nominations and scoring hits like “My Father’s Son” from his debut album Earthbound. After early success, tours and collaborations with major artists, Conner stepped away from the spotlight amid industry disillusionment and personal challenges, later finding acclaim as a songwriter for others. Reeves licked his wounds and got back in the saddle, building back from the ground up before taking the plunge into a new full-length record. 27 years later, Reeves returns with Ten Thousand Days and The Church of the Restoration, a self-made ‘second debut’ shaped by hardship and renewal - marking a heartfelt resurgence and creative rebirth. Conner Reeves was never going to return simply for the sake of it. The acclaimed singer-songwriter, who emerged in the late ’90s as one of Britain’s most acclaimed new soul voices, describes his new album Ten Thousand Days and The Church of the Restoration as his “second debut” - a record shaped by nearly three decades of life, loss, and renewal. More than 27 years after releasing his debut Earthbound - which featured the Top 20 hit “My Father’s Son” and earned him a BRIT Award nomination - Reeves has crafted a comeback that feels both timely and timeless. Hailed early on as “a blue-eyed soul singer of remarkable abilities,” he scored multiple UK Top 30 hits, performed to millions, and toured with Whitney Houston. Then, to the wider public at least, he seemed to disappear. In truth, Reeves’ journey was anything but quiet. Disillusioned with the music industry after the creation of the second album stalled, he stepped back as fatherhood, financial struggles, and even near bankruptcy reshaped his priorities. For a time, he undertook manual labour in rural France after relocating from London. Beneath it all, he battled severe stage fright - a fear so intense he once likened walking toward the stage to heading for the gallows. Yet creativity never left him. Reeves continued writing, with his songs recorded by artists including Rod Stewart, Joss Stone and Westlife. In 2000, he co-wrote Artful Dodger’s UK Top Five hit “Please Don’t Turn Me On.” Gradually, he rebuilt his confidence through smaller releases and intimate performances. Now based in Ibiza, Reeves recorded Ten Thousand Days and The Church of the Restoration entirely in his home studio. The album blends incisive, grown-up lyricism with rich melodies and gospel-tinged soul influences drawn from heroes like Stevie Wonder, Marvin Gaye and Michael Jackson. Tracks such as “Bones,” and the closing statement “Skin In The Game” showcase a voice and songwriting craft undiminished by time. That vocal blend of gravel and honey, that vocal that is unmistakably Conner Reeves. The title reflects his renewal: restoration as returning something to its rightful place. For Reeves, this album is not a swansong but a rebirth. Having faced professional highs, personal hardships and hard-won perspective, he emerges with a body of work that feels deeply lived-in and entirely his own - proof that sometimes the long road leads exactly where it was meant to.