- Live Reviews
A cold damp Tuesday night in Nottingham is about to become warm, cozy and enthralling in the company of two very accomplished outfits.
Rock City is pretty much full (not sure why they did not open the balcony) tonight and the first band on are Submotion Orchestra, a Seven piece formed in Leeds in 2009.
With an expansive, ambient and dreamy sound, the venue is quickly enveloped in the band’s warm glow. New Album ‘Colour Theory’ provides the base for the 50 minute set which if there are new listeners present, they must be checking out the band further as we write.
The Cinematic Orchestra do not tour that much and recent live dates have been in London and major cities, so a regional tour is most welcome.
The Cinematic Orchestra formed in1999 by Jason Swinscoe are a band that to me that evoke memories of Jazz legends, Weather Report but, with added vocals from singers, Tawiah and Hedi Vogel that just melt your heart this takes their songs to a new level. New song ‘To Believe’ is a prime example. This is actually the first new material for a while and with the tour and the evident tightness of the band, this all bodes well for more activity soon.
A string intro started the show, as the band eased into ‘Burn Out’ and really warmed up with ‘Child Song’ and ‘J Bird’.
‘The Reveal’ is a stunning song, but by this time the people with 2 pint glasses are becoming decidedly chatty which, takes the edge off the mid section of the set until nature calls and they don’t return!
‘Flite’, ‘Breathe’ and ‘Man with a Movie Camera’ end the main set superbly and there is still a 3 song encore to come.
We can cope with whatever winter throws at us with warm musical nights like this.
Pete
Set:
Burn Out
Child Song
J Bird
The Reveal
To Believe
Eye for an I
Lessons
Flite
Breathe
Man with the Movie Camera
Encore:
To Build a Home
Ode to the Big Sea
All That You Give
- Live Reviews
We've all been in a part-filled music venue which claimed to be “SOLD OUT” for the sake of good PR for the band, haven't we. Tonight as I walk up the stairs to the Main Hall at Rock City there are people standing in the doorway to the entrance it's rammed, there are 2,500 here tonight to see local heroes/ anti-heroes/ superheroes Sleaford Mods. Andrew Fearn (laptop, blue 'Still Hate Thatcher' shirt, and bottled beer), and Jason Williamson (machine-gun style vitriolic vocals, plain black shirt and bottled water) walk on stage to a heroes welcome.
Tonight's show is a mix of old faves and new stuff from the 'TCR' E.P. 'I Can Tell' and the title track (the cleaned up version of which has been getting air play on 6Music) get played early in the set. 'Face to Faces', 'Fizzy' and 'Giddy On The Ciggies' get the largely male and young moshpit going down the front.
Mid song something gets thrown towards Jason, at the end of the song he addresses the transgressor “I am not Tony Stark, I am made of flesh. If you throw things at me and I go down you have wasted ten pounds. Hit the b*****d” In spite of that incident the mood is celebratory, the band seem genuinely overjoyed with the audience's reaction “Just remember you didn't come to see us tonight, we came here to see you. We love you Nottingham” as they finish the main set.
The three track encore begins with the rattling intro to 'Jobseeker' over which Jason ad-libs a couple of lines from Bad Manners' 'Lip Up Fatty'.'Tied Up in Nottz' ignites the Catherine Wheel circle pit and rockets of beer fountains and keeps the bouncers busy attempting to repel the stage invaders one of whom gets through and takes an impressive dive back into the crowd at the climax of the song.
The lack of a traditional song structure, the minimal deep bass beats from Andrew's laptop and Jason's impressive machine-gun style vocal rattle sit uneasily with some, but as a band willing to shine a light at the absurdity and general dissatisfaction many feel in life they are a vital British band.
Alisdair Whyte
- Live Reviews
Its a testament to the progress the Picturedrome has made over these last few years that they now have the privilege of hosting the opening night of Anathema’s November mini tour, rather than the latest Oasis or Stone Roses tribute band. The tour itself takes in several smaller UK venues, a brief trip to the prog friendly venues of The Netherlands and France, before the prestigious support slot to Opeth at Wembley Arena in late November.
The band have been holed up in a studio for the last few months, working on studio album number 11, and by their own admission have been feeling lonely and yearning to play for audiences again.
The event was billed as an evening with Anathema, promising a 2 hour set, including previews of the new music worked out so far.
The lights dimmed, the heavy doom laden backing track was silenced, and the band took the stage where they launched into the first new track of the evening. No clues were given to the title of this track, but the word “tonight” was prominently used. The track seemed to follow on from 2014’s cooly received Distant Satellites, with a glitchy, electronic backing track over which the rest of the band played. After the majesty of albums We’re Here Before We Are Here and Weather Systems, here’s hoping they don’t go do a Radiohead - after all, this is a band used to making bold changes of musical direction.
Lead singer, and one of the 3 brothers in the band, Vinnie Cavanagh hoped, at the songs conclusion, that we weren’t too freaked out by opening the set with a new track. The mainly silent audience, stayed silent.
Thankfully, we were quickly on familiar territory, with the magnificent, 11 minute or so Untouchable Parts 1 & 2 before leading straight into Thin Air. These tracks also saw the first appearance of female vocalist Lee Douglas to the stage, and all was well with the world. Similar to Mimi Parker in Low, Douglas add a beautiful, sweet softening to the main vocals and harmonies and I’m sure I’m not alone in wishing she was used more.
The rest of the first half of the set continued with mainly old stuff, much to the pleasure of the ever warming crowd. The exception was another new track (Springfield ?), sounding lovely and reassuring, before closing with the traditional Closer.
It was clear that the band were a little rusty, with Danny Cavanagh even forgetting to plug his guitar in at some point, and several issues with the sound mixing, but this eased as the evening progressed.
The second half opened with Distant Satellites, before 2 new tracks in a row. The first was introduced as “your new favourite Anathema song”. Again, both sounded familiar, yet a progression on recent albums and something to look forward to in the new year.
Fragile Dreams closed the evening, by which time the euphoria caused by the band meant we didn’t want it to end, and disappointingly there wasn’t a encore.
Always great to see this magnificent, if underrated band, even if it seemed a little like a warm up to a bigger event, which of course it was, but as a taster to album number 11, next year can’t come quickly enough.
Keith
@kjsmith4082
- Live Reviews
Upstairs @ Whelans was the setting for Josienne Clarke and Ben Walker's first ever gig in Dublin. When explaining to my other half who I was going to see I just said, “I saw them at Cambridge”. That is enough to justify that I am going to see something that was so good, it just has to be experienced again.
Support came from Bostonian Dietrich Strause, who has been on this entire tour with the couple. Ben guested on guitar on one of his songs and Josienne on vocals on another one. Dietrich had his brand new CD 'How Cruel That Hunger Binds' for sale at the show.
Josienne and Ben almost seem to come from a different time. Their music at times sounds medieval, classical, and at other times reminiscent of 70s folk – Sandy Denny and Richard Thompson in particular.
The previous time I had seen Josienne and Ben they had had a band with them, that included Red Clay Halo musicians Anna Jenkins and Jo Silverstone. This time they were on their own – just Ben's excellent guitar-playing and Josienne's beautiful singing. I loved the pared down sound.
Although she comes across as shy and sings either with eyes staring in the distance or cast down, Josienne Clarke has a wicked sense of humour and her in-between song talk perfectly balances the bleakness and melancholia of the songs. She is the songwriter in the duo and this is no mean feat. The majority of the songs performed at Whelans were written by Josienne and they were magnificent.
'Something Familiar' from their just released album 'Overnight' is probably the best song she has ever written. If there is any justice it should get nominated at next year's Folk Awards. If interested, check YouTube for the haunting video for this song, starring actress Olwen Fouéré. I am not a fan of story videos as I prefer to have my own images with songs, but this is a fantastic video that plays on in your mind long after watching it. And as for the song, it has the same qualities as Richard Thompson's 'Beeswing', Tom Waits' 'Martha', Martin Simpson's 'Never Any Good'... in other words: It makes you cry.
The set included a few covers. Josienne joked that Gillian Welch must know her, as 'Dark Turn Of Mind' seems written about her! I did not know the song but am now going to seek out the original. They also covered Fairport Convention's 'Fotheringay' (nice) and 'For All We Know' by Nina Simone. The latter has never been my cup of tea, but that's nitpicking.
The gig was reasonably attended but it was by no means full. There is not a huge audience for English folk in Ireland, though the Unthanks and Kate Rusby draw big audiences these days. In a way it is a privilege though to see such amazing artists in the intimate setting of the upstairs room at Whelans. You got the impression that everyone present was in awe of the gig. There was zero walking and talking during the set.
It was quite a contrast then to transit from the beautiful music made by this talented, well-spoken duo into the crassness that is Camden Street on Saturday night at Halloween weekend... I wanted to just run home, close the door and put on the CD to prolong the atmosphere of the concert.
Helen
- Live Reviews
Daoirí Farrell has been on my radar for some time. I first came across him when he supported Solas in Whelans, quite some time ago. When he spelled out his name at the end of that gig I paid close attention, as this was an exceptional singer I was going to keep an ear out for. Last year I caught him with the group Four Winds at a tradfest. Both times I thought he was superb, but the gigs were too short, so when his album launch show at Whelans was announced I jumped at the chance to see a full concert.
There was a great buzz in Whelans. The queue to enter stretched around the corner, the upstairs was open and it took forever to get a drink. There was no support and Daoirí played with a full band, with some songs performed solo. He seemed nervous at the start but relaxed soon enough. This was a home show (he hails from Bluebell, Dublin 12) and many friends and family were present.
His most popular song, 'Creggan White Hare' (over 130,000 views on YouTube) was played early on in the set. On that song and on some others Daoirí's singing and mandola playing are reminiscent of Andy Irvine. Although I am a longtime trad aficionado, I know relatively little about ballad singing. I have heard of Frank Harte and of course Christy Moore, but that is about it. I always find it interesting when singers explain how they came across certain songs and who they learned them from.
Daoirí's band included Tony Byrne on guitar, Robbie Walsh on bodhran and Paddy Kiernan on banjo. The bodhran playing stood out for me. The band was padded out with fiddle, two pipes and cello on some songs. It is a personal preference of mine that trad ensembles should not be too large and I would have been happy to have just the main three accompanists, though there is no denying that some of the pipe-playing was very beautiful. Michael McGoldrick plays on Daoirí's new album and as I am a huge fan I had secretly hoped that he might be there, but one cannot have it all.
Daoirí's debut album, 'The First Turn' is from 2009 and it took him seven years to come up with this successor. In the intervening years he has been singing and gigging, and obtained an MA in music performance from the University of Limerick. The launch of 'True Born Irishman' felt like quite a special occasion and Daoirí said several times how much the great turnout meant to him.
After Lynched and Ye Vagabonds here is yet another great new Dublin-based act. Dónal Lunny has said that “Daoirí is one of the most important traditional singers to emerge in the last decade”. Jools Holland may well come calling soon and if Cambridge Folk Festival do not book Daoirí for next year I will eat my hat.
Helen
- Live Reviews
Last Sunday I attended a living room concert featuring Bronagh Gallagher. I went without doing any research. All I knew about Bronagh was that she was one of the three girls in the Commitments, and I trusted that since my friend Áine had booked her, she must be okay. What a lovely surprise this was. Bronagh is a soul singer, I knew that much, but also a fantastic songwriter. I don't know why I expected that part of the show might be covers. Instead it was all original songs; excellent songs and great stories to go with them.
Bronagh explained that the songs are best performed with a big band including a brass section. For this gig however it was just herself and guitarist Conor Brady. I have since had a sneak listen on iTunes and realise what Bronagh means with the big band treatment, however these songs worked wonderfully well in the intimate living room setting, with just vocals, handclaps, guitar and some great audience participation. Standout songs for me were 'Johnny Eagle', 'Shortcut', 'Radio' and 'Fool'.
The in-between-song chat was as entertaining as the music. Bronagh is an actress as well as a singer, and a great character to boot. I do not want to ruin the stories for anyone who may go and see her in the future, but they featured amongst others a Czech metal bar, a Notting Hill apartment with Christopher Lee knocking at the window, Woody Harrelson in a Malibu kitchen, the Beauty School in San Diego, Kenny Everett impersonating Rod Stewart, the fact that the Irish have heard of Dr Dre, and legendary Dublin tattoo artist Johnny Eagle. It was evident that Bronagh is an avid music fan herself. She name-checked Amy Winehouse, Dolly Parton and Lisa O'Neill.
The taxi driver who had driven Bronagh to the gig had commented that this was like a busman's holiday for her, to which she had replied, “Ooh aye”. During the gig she confessed not knowing what that meant. Much hilarity and speculation from the audience. I have looked this up and a busman's holiday is 'a vacation during which a person engages in activity that is the same as or similar to his or her usual employment'. I don't think the show could have been classified as vacation at all, as Bronagh and Conor put on a long and varied concert, drinking only tea.
I never though of myself as a soul fan, but maybe I should reconsider. Bronagh's songs bring to mind the two Maria's of whom I am a big fan - Maria McKee and Maria Doyle Kennedy. Listening to Bronagh's three albums on iTunes I also noticed similarities to Patti Scialfa's underrated albums and during the gig my mind drifted to Laura Nyro, who's biography 'Soul Picnic' I am currently reading. I can well imagine these songs being sung on fire escapes in the Bronx, or in New York subway stations, where Laura used to busk. No mean feat for a girl from Derry.
I am definitely going to follow up on this. Bronagh plays Armagh in November, Belfast and Dublin in December and Switzerland in January.
Helen.
- Live Reviews
The live music experience can be very subjective. A punter's enjoyment of a gig can depend on time and place, circumstances, company, energy levels and alcohol intake. When preparing for his recent tour revisiting 'The River', Bruce Springsteen said that he was not only competing with the original River tour, but also with people's memories of the original River tour.
When a concert stands out in your memory as one of the best ever, it is asking for trouble hoping to repeat that experience. One of my own "best ever" memories was Paul Simon at Roskilde 1991. I had the opportunity to see Paul Simon again at Glastonbury 2011 and I was never so disappointed.
Another "best ever" gig was Séamus Begley & Tim Edey in 2007 at the Worldfleadh in Portlaoise. It was a midnight gig and they played for nearly three hours in a nightclub. I remember it as absolutely electrifying. I have seen both Séamus and Tim play since, but not together, and I wondered if they would be as good the second time around.
Séamus Begley is described by Mike Scott (in Adventures of a Waterboy) as “a box-playing cattle farmer with a back like a wardrobe and the most beautiful singing voice”. Tim Edey is a multi-instrumentalist extraordinaire (BBC Radio Two's Musician of the Year 2012) and he accompanies Séamus on guitar.
They were due to play one of the nicest venues in the country, the Seamus Ennis Centre in the Naul, on 24 September and so I made the trek up to North county Dublin. It was getting dark as I was going to the pub across the road to buy a pint for the gig. In the distance I saw a tall man talking into a mobile and I remember thinking he looked like Donogh Hennessy.
I did not get to test whether Séamus & Tim were still as outstanding nine years on from Portlaoise, as Tim had been struck by appendicitis and could not make the gig. Donogh Hennessy was replacing him. I have to admit I was disappointed. Over the years I have seen Séamus Begley perform with Steve Cooney, Jim Murray and Matt Griffin - all great guitarists playing in the style pioneered (so I am told; I am no expert) by the Australian Steve Cooney. Donogh Hennessy is a fabulous guitar player in his own right. I remember seeing him way back when he was part of Sharon Shannon's touring quartet; he was a founder member of Lúnasa and I have seen him play with Lumiere. He is a producer and owns a studio in Dingle. Mike Scott, again, once described Donogh, in a blog about session shenanigans post-Other Voices, as "the man who knows all the tunes".
The Naul got an excellent gig. The show was a mix of trad instrumentals (polkas, slides, reels, a waltz) and songs. Séamus' singing is unlike anything I have ever heard. There were many jokes too and they took requests. My own was a song they were most likely going to play anyway ('The early morning rain'), but there were some off the cuff requests as well, requiring the men to confer and hum for a bit.
The Seamus Ennis Centre is a music lover's dream: An intimate venue with great sound and always an attentive listening audience.
The show had an interval, allowing us to go across the road for a fresh pint. The guys played for over two hours. It was trad at its best and I had a fantastic evening. I still do not know whether Séamus Begley & Tim Edey can match that "one-of-best-ever" gigs. I hope to have the opportunity to check that out some time in the future.
Helen.
- Live Reviews
Sunday 11 September I went to see Roy Bailey at the Green Note in Camden. This was a suggestion of friends in London. I was not familiar with Roy's music, but have since learned that he is a legendary folk singer; a kind of English equivalent to Pete Seeger no less. A protest singer, a socialist, half of an award-winning duo with the late Tony Benn and an academic. And all I knew was that he was Martin Simpson's father-in-law, although I am now sure Martin would say that the other way around.
The Green Note is a lovely venue. It is so small that you can see well from anywhere inside. The place filled up early with a dedicated listening audience. I drank organic draught beer; surprisingly good. I was in London on my way back from the Netherlands, where I am from but which long ago stopped feeling like home. I had a very happy night in the Green Note, sitting in this dark, atmospheric café among like-minded music fans. Audience participation was very much encouraged, as Roy said he wanted the show to be a communal experience, rather than just him doing his thing and us listening.
Roy is 80 years of age and walks with a stick. His voice is strong though and this was not a short gig either. Roy was accompanied by Marc Block, whom he credited with enabling him to continue to do gigs, as Marc drives him around. Marc contributed guitar, harmonica, bodhrán and vocals. They were also joined by Ian Brown, who added guitar and vocals to the songs he knew, and stayed out of the ones he didn't. I liked this, as guests outstaying their welcome can sometimes mar a gig.
Highlight for me was a song called 'Everything possible', written by Fred Small, an American songwriter. The song had a lovely message, as had Sunday's show in general. Roy very much came across as a man with his heart in the right place. He is not a songwriter but a collector of songs, and a well-travelled one. Storytelling and anecdotes were an important part of the gig.
Roy has only recently released his first ever live CD 'Live at Towersey 2015', featuring the aforementioned Marc and Ian, as well as Martin Simpson and Andy Cutting.
Helen.
- Live Reviews
Last Monday the Amsterdam Bos Theatre hosted an evening of acoustic music. What a great location: An open air theatre in the Amsterdam Forest, a park three times the size of Central Park on the outskirts of the city. It was a dry and warm evening with mosquitos who calmed down once it got dark.
I had been apprehensive about this gig. A mailing that had gone out from promotor warned of a token system for drinks and that payment would be by "pin" only. They even tried to flog a very un-rock'n roll €35 picnic hamper. Thankfully cash was eventually accepted and there were no hipster picnickers in evidence at all.
Call It Off opened the show. They describe themselves as a pop punk quartet and hail from Eindhoven. For this concert band members Maurice and Adrian performed as a duo. The hallmark of a good song is that it should work with just guitar and vocals and that was indeed the case here. The guys have strong voices, they harmonize nicely and they got some crowd participation going, even if it did take them until their last song to realize that there were a lot of travelling fans at the show who had not understood any of their introductions in Dutch.
Tim Vantol is a Dutch singer/songwriter who is actually better known in Germany than at home. I was not familiar with his music, but I knew that he came highly recommended. I was won over quickly: A huge voice, warm personality and anthemic songs about life and its ups and downs. Tim is a hardworking touring machine and a seasoned live act. He had the audience on his side from the start. He asked where people were from and effortlessly switched to Spanish in mid-song for a girl in the audience.
It was unfortunate that Tim's merch guy did not have sufficient change and was not prepared to accept 1 and 2 cent coins. I resigned myself to the fact that I was not meant to have Tim's CD. For the record, Tim has released two full-length albums and they are out on vinyl as well.
Frank Turner's gig was a rare duo performance with his friend and Sleeping Soul member Matt Nasir on mandolin, mandola and backing vocals. With a bottle of wine on a table between them they put on a laid-back, humorous show. The set differed significantly from Frank's previous concert in the Netherlands (Utrecht, January), which pleases multiple gig goers. The songs from Frank's most recent album 'Positive Songs For Negative People' translated particularly well to the guitar and mandolin treatment. 'Glorious You' and 'The Opening Act Of Spring' were the standouts for me.
'A Love Worth Keeping' was played especially for a fan for whom this was her 50th show. Frank inpires this kind of loyalty among his listeners, most of whom will be able to tell you their gig count. A check on Setlist.fm revealed ten previous live renditions of the song 'A Love Worth Keeping'. In comparison, the site lists Frank's most successful song 'Photosynthesis' 787 times, though given that this was Frank's 1958th show as a solo artist (he does keep count) the actual figure is probably double that.
Other rarities performed at the Bos Theatre were the Million Dead song 'Smiling At Strangers On Trains' and a new song entitled 'Eye Of The Day'. This song is about Mata Hari and is part of a kind of concept album that Frank may be working on. It is a beautiful quiet song and the audience gave it the reverence it deserved.
The encore included a guitar and mandolin classic rock extravaganza with covers of Wings' 'Live And Let Die' and Queen's 'Somebody To Love'. 'Get Better' closed the concert. The 'Get Better' Tour of the UK featuring Frank Turner & the Sleeping Souls plus two support acts kicks off on 18 November.
Helen.
- Live Reviews
Mutefish are an instrumental six piece, best know for their street gigs. Dublin has a great tradition of buskers who have gone on to bigger things. This was particularly the case in the 80s, with the scene that spawned the Hothouse Flowers, Kíla and that included the late Mic Christopher and, most successful of all, Glen Hansard.
Mutefish have released a full length album and an EP to date. They are a festival band and they tour internationally as well (they were in Belgium and Switzerland earlier this year), but they opt to continue busking alongside this. They used to play in Grafton Street. When Mike Scott of the Waterboys posted regular - and amusing - busker reports from Grafton Street on Twitter and he mentioned Mutefish favourably more than once. Nowadays the band can be found on the main square in Temple Bar. My guess is that busking in this touristy area enables them to reach new listeners all the time, in a way that playing in venues simply cannot.
I caught them at a headline gig in Whelans, two days after they supported the Damned at the Academy and prior to their three appearances, they inform us, at the Electric Picnic next weekend.
They drew a seizable crowd, some of which were wearing Mutefish T-shirts. Spanish and Brazilian Portuguese were the dominant languages in the audience, although I overheard an American as well, who was saying to his friend: “This is Whelans, this is where it all happens”.
The current Mutefish line up consists of musicians from Ireland, Poland, Lithuania, Ukraine and Portugal. I was not aware that there had been a line up change and I have to admit that I was disappointed to discover that flute player extraordinaire Daithi O'Cearuill is no longer with the band. He featured prominently on the band's first CD, 'On Draught', and since I am quite a flute aficionado I missed his input.
According to the info on the band's website fiddler Pedro Martinho plays flute, whistle and pipes as well, but he did not do so at Sunday's show (except for one very brief part). The line up changes have resulted in a much heavier sound. Mutefish describe their music as progressive techno folk, and on Sunday at least the emphasis was more on prog than on folk.
Once I put my disappointment about the absence of flute aside, I realised that their newer music is actually good. The fiddle is the main provider of the melody and the Portuguese fiddler is also the spokesman for the band. Bo Stelmach (Polish) switched between guitar and mandolin and the mandolin lightened the mood nicely whenever it made an appearance. The rhythm section is made up of Tomas Pupalaigis (from Lithuania) and drummer Philip Staunton (Irish). Ukrainian Peter Karabasoff is another multi-instrumentalist, though he stuck mostly to percussion for this gig and, the sound is rounded out by Marka Lovkil on electric guitar.
At times their music is reminiscent of the Levellers, minus vocals, or of instrumental acts such as And So I Watch You From Afar and Redneck Manifesto. Due to the international make up of the band there is a Manu Chao vibe about them as well.
Their encore was played especially for all the Brazilians in the audience. Apparently it was a cover of a song by a Brazilian band, with a death metal vocal 'sung' by the drummer Philip. It went down a storm and it was a fun end the show.
Mutefish's current EP '360 Hangovers' is available at their busking sessions and via the band's website.
Helen
- Live Reviews
I travelled to Kilkenny on Saturday for a gig at the lovely Set Theatre. I had been there once before, to see Frank Turner, and I liked the venue so much that I had been keeping an eye on their listings ever since. A concert by the Unthanks was a good excuse for a visit to the Marble City.
The last few times I had seen the Unthanks it had been their big band extravaganza with brass and string sections. This time it was only the core five members, and I liked it all the more for that. There would not have been room for more on the Set's tiny stage in any case.
The Unthanks are celebrating ten years as a band and were doing some looking back tonight. They played songs from the Rachel Unthank & the Winterset era, which suited the smaller set up. They also did a good few songs from 'Songs from the shipyards', a show I had missed when they toured it. In addition they did a song from Sting's shipyard project on which they had guested.
They talked about the fact that Becky had got to sing a duet with Sting (cue much joking from all band members and audience; poor old Sting..), but it was Rachel's song they performed: 'Peggy's song' was one of the highlights of the evening for me. Other standouts were 'Anarchie Gordon', 'The testimony of Patience Kershaw' and 'Here's the tender coming'.
For one song Rachel and Becky divided up the audience and taught us some three part harmonies, as they do in their workshops and singing weekends. The resulting singalong sounded great. There was then an interval during which people went to the bar and bought CDs. Rachel came over to say hello as she remembered me from a singing weekend a good few years ago. Her husband Adrian recognised me as well. Such nice people. We talked about the differences between the big band and this smaller set up. Adrian said they like to think that neither is better; just different (true).
Martin Hayes and Dennis Cahill were in the audience for the concert, which was a good two hours long. In the queue beforehand I had talked with some musos who were grumbling about Ricky Scaggs' very short show as part of the Kilkenny Arts Festival a few days earlier. One man spotted my Bruce shirt and commented that Ricky could learn a thing or two from the Boss. No such complaints with the Unthanks.
On my way back to the hostel I witnessed what I presume is a typical Saturday night in Kilkenny. Girls on stilts in swimwear and many folks in Kilkenny shirts. I came home with the Unthanks' 'Archive Treasures', which has rarities, demos and alternative live versions – a great collection.
Helen
- Live Reviews
Hot on the heels of the New York maestro’s latest album release Blues of Desperation, followed by a short UK tour, Joe Bonamassa hits these shores again for a run of 5 Summer shows as an homage to his British blues guitar heroes : Clapton, Beck and Page.
Billed as A Salute to the British Blues Explosion, Bonamassa is famously quoted as saying that without the British influence during the early 60’s, rock as we now now it may never have happened...
Set up like a mini festival, and with the impressive Newark Castle ruins behind the stage, first up is Brummie Joanne Shaw Taylor. Despite being the support act, the majority of the assembled are in their seats and attentive during her impressive 40 minute set. She sure can play guitar and has an impressive set of lungs to match. Job done ; crowd warmed up.
And so at 8pm sharp, the now familiar opening backing track of Cash’s Ring of Fire blares out before the band, and finally the immaculately suited and shaded Bonamassa joins them. And without ceremony, they set off into Beck’s Bolero.
Despite the poor vocal volume during the first couple of songs, momentum grows especially when the first Zep song of the night Boogie With Stu lands, and the population of middle aged blokes in the audience show their appreciation.
Bonamassa’s first address to the audience basically suggests that without listening to his heroes back in his childhood, he wouldn’t have picked up a guitar and would have gone down the house painting route...Their loss....
Double Crossing Time, actually a John Mayall cover, features one of several insane solos during the night, and leaves us aspiring guitarists wondering why we bother.
The Clapton songs covered during the night are obvious even if you are were not familiar with the tracks, as Bonamassa almost has a touch of old Slow Hand’s vocal style, and Motherless Children is the perfect example.
Bonamassa’s backing band are Anton Fig on drums, Russ Irwin on rhythm guitar, Reece Wynans on Keys and the inimitable Michael Rhodes on bass. And what a band. They are certainly not just there for Bonamassa to show off his peerless talent, but to enhance it. Let’s face it, you’ve got to be on your game when playing with a maestro.
SWLABR is one of the many highlights of the night, culminating is a furious bass/guitar play off which clearly shows 2 friends having fun and loving what they do.
Zeppelin’s I’ Can’t Quit You Babe is also a masterpiece....is it sacrilege to suggest it actually might have been an improvement on the original...? Magnificent.
Finally, the crowd are urged to join the band on their feet for the finale of How Many More Times, and sadly it felt like this should have happened an hour ago to really get the party started, but better late than never and the euphoric ending was entirely appropriate.
And so to the encore. Bonamassa himself announced that he would not have been able to sleep properly tonight if he hadn’t played something the crowd really knew and loved, and so onto the epic Sloe Gin. The roof would have been brought down if we’d had one, instead we showed our appreciation into the usual manner and sloped off into the now chilly night grinning from ear to ear.
So a unique occasion, in a unique setting and a truly special night. If the aim of the tour was to show his admiration and respect for his heroes, then mission accomplished. If it was to entertain his legions of fans along the way, then mission accomplished with bells on it. Page, Beck and Clapton may have been pivotal at the beginning of blues rock as we know it, but Bonamassa is at the forefront of its future. The Blues couldn’t be in better hands.
Keith @kjsmith4082
photo: Christie Goodwin