Game, set and perfect musical match
Joe Bonamassa - Clyde Auditorium, Glasgow, 3rd July 2016
Joe Bonamassa - Clyde Auditorium, Glasgow, 3rd July 2016
Okay, I get it now, I really do; the Cult of Bonamassa can claim itself another acolyte.
Over the years I've bought and enjoyed the albums but could never really call myself a "fan" of Joe Bonamassa, not in the true sense of that word. At least not until now.
Secondly, for various reasons I'd never managed to catch Joe Bonamassa live (and in recent years ticket prices have rocketed way beyond my budget and comfort zone).
But the blues gods smiled this time around and bestowed upon this forgotten soul the chance to review this modern day six-stringed Messiah. (Hallelujah I believe!)
There was also the added bonus of the intriguing format of the current shows – no Joe Bonamassa originals were being aired and the concerts were billed as "The Best of British Blues" with the emphasis on three of Bonamassa's biggest influences, Jeff Beck, Jimmy Page, and Eric Clapton.
But neither was this ever going to be a run through the greatest hits – there was to be no 'Hi Ho Silver Lining,' no 'Rock 'n' Roll,' no 'Sunshine of Your Love' – this triple homage would be paid on Joe Bonamassa’s terms.
Kicking off with the instrumental 'Beck's Bolero,' rattling through Eric Clapton's 'Mainline Florida' and delivering a rollicking, duelling piano-led version of Led Zeppelin’s 'Boogie With Stu,' this was Joe Bonamassa at his blistering one-two-three best.
The rest of the set covered cuts such as 'Spanish Boots' and 'Plynth' (The Jeff Beck Group), 'Double Crossing Time' and 'Little Girl' (John Mayall’s Bluesbreakers), 'SWLABR' (Cream) and 'Motherless Children' from Eric Clapton’s solo career. Each was played with a fiery Bonamassa passion yet subtle and moving when necessary.
Other highlights included 'Pretending' from ol’ Slowhand’s excellent semi-comeback album Journeyman and an amazing Led Zeppelin mash-up of 'Tea For One,' 'Since I've Been Loving You' and 'I Can't Quite You Baby.' There were also stunning renditions of the instrumental pairing 'White Summer' / 'Black Mountain Side' and show closer 'How Many More Times' (the latter featuring, as Zeppelin did, a snippet of 'The Hunter').
Joe Bonamassa and band then left and returned to the stage to rapturous applause, a standing ovation and an encore of Tim Curry’s 'Sloe Gin,' as brilliantly covered for Bonamassa’s album of the same name.
Special mention must go to the guys behind, and alongside Joe Bonamassa, arguably the greatest "backing band" in blues and blues rock.
Keyboardist Reece Wynans is a renowned blues veteran who has played with such luminaries as Dickey Betts and Stevie Ray Vaughan, to name but two; drummer Anton Fig is well-respected and well-known to viewers of Late Night with David Letterman as the man behind the kit of that show’s house band.
Michael Rhodes is one of greatest blues bass players you’ll see and hear while the brilliant Russ Irwin brings additional guitars, keyboards and backing vocals to proceedings.
It should also be noted the band only had five days to knock this set in to shape before touring it; however such was the tightness of both the performances and the unit you would be forgiven for thinking they had been performing it for years.
I am constantly blown away by the level of talent on the blues and blues rock circuit, on both sides of the pond; in fact you could argue we are being spoiled in a way not seen since those heady days of the 60s that spawned the three legends Joe Bonamassa paid, and played, tribute to on his "Best of British Blues" tour.
Time will tell if Smokin’ Joe enters the upper echelons of the blues hierarchy to stand beside the likes of Jimmy Page, Eric Clapton and Jeff Beck but it was certainly fitting this particular performance was slap bang in the middle of Wimbledon fortnight – because it was Game, Set and Match Joe Bonamassa.
Campbell Stewart
FabricationsHQ
Photo credit: Mitch Stevenson
Over the years I've bought and enjoyed the albums but could never really call myself a "fan" of Joe Bonamassa, not in the true sense of that word. At least not until now.
Secondly, for various reasons I'd never managed to catch Joe Bonamassa live (and in recent years ticket prices have rocketed way beyond my budget and comfort zone).
But the blues gods smiled this time around and bestowed upon this forgotten soul the chance to review this modern day six-stringed Messiah. (Hallelujah I believe!)
There was also the added bonus of the intriguing format of the current shows – no Joe Bonamassa originals were being aired and the concerts were billed as "The Best of British Blues" with the emphasis on three of Bonamassa's biggest influences, Jeff Beck, Jimmy Page, and Eric Clapton.
But neither was this ever going to be a run through the greatest hits – there was to be no 'Hi Ho Silver Lining,' no 'Rock 'n' Roll,' no 'Sunshine of Your Love' – this triple homage would be paid on Joe Bonamassa’s terms.
Kicking off with the instrumental 'Beck's Bolero,' rattling through Eric Clapton's 'Mainline Florida' and delivering a rollicking, duelling piano-led version of Led Zeppelin’s 'Boogie With Stu,' this was Joe Bonamassa at his blistering one-two-three best.
The rest of the set covered cuts such as 'Spanish Boots' and 'Plynth' (The Jeff Beck Group), 'Double Crossing Time' and 'Little Girl' (John Mayall’s Bluesbreakers), 'SWLABR' (Cream) and 'Motherless Children' from Eric Clapton’s solo career. Each was played with a fiery Bonamassa passion yet subtle and moving when necessary.
Other highlights included 'Pretending' from ol’ Slowhand’s excellent semi-comeback album Journeyman and an amazing Led Zeppelin mash-up of 'Tea For One,' 'Since I've Been Loving You' and 'I Can't Quite You Baby.' There were also stunning renditions of the instrumental pairing 'White Summer' / 'Black Mountain Side' and show closer 'How Many More Times' (the latter featuring, as Zeppelin did, a snippet of 'The Hunter').
Joe Bonamassa and band then left and returned to the stage to rapturous applause, a standing ovation and an encore of Tim Curry’s 'Sloe Gin,' as brilliantly covered for Bonamassa’s album of the same name.
Special mention must go to the guys behind, and alongside Joe Bonamassa, arguably the greatest "backing band" in blues and blues rock.
Keyboardist Reece Wynans is a renowned blues veteran who has played with such luminaries as Dickey Betts and Stevie Ray Vaughan, to name but two; drummer Anton Fig is well-respected and well-known to viewers of Late Night with David Letterman as the man behind the kit of that show’s house band.
Michael Rhodes is one of greatest blues bass players you’ll see and hear while the brilliant Russ Irwin brings additional guitars, keyboards and backing vocals to proceedings.
It should also be noted the band only had five days to knock this set in to shape before touring it; however such was the tightness of both the performances and the unit you would be forgiven for thinking they had been performing it for years.
I am constantly blown away by the level of talent on the blues and blues rock circuit, on both sides of the pond; in fact you could argue we are being spoiled in a way not seen since those heady days of the 60s that spawned the three legends Joe Bonamassa paid, and played, tribute to on his "Best of British Blues" tour.
Time will tell if Smokin’ Joe enters the upper echelons of the blues hierarchy to stand beside the likes of Jimmy Page, Eric Clapton and Jeff Beck but it was certainly fitting this particular performance was slap bang in the middle of Wimbledon fortnight – because it was Game, Set and Match Joe Bonamassa.
Campbell Stewart
FabricationsHQ
Photo credit: Mitch Stevenson