Six-string surfing…
Joe Satriani and Dan Patlansky – Glasgow Royal Concert Hall, 3rd November 2015
Joe Satriani and Dan Patlansky – Glasgow Royal Concert Hall, 3rd November 2015
Opening and closing a set with extended instrumental performances when you are a blues rock performer may seem a strange choice, but when you have the six-string talents of South African guitarist singer songwriter Dan Patlansky, it’s merited – and in front of a rock crowd who have come to see Joe Satriani it also makes smart, musical business sense.
However it was no surprise that the 40 minute set performed by Dan Patlansky and band – Patlansky (guitars, vocals), Clint Falconer (bass) and Andy Maritz (drums) – also included songs from current album Dear Silence Thieves, an outstanding blues rock album from an outstanding blues rock talent.
'Backbite' is a true live song (a chunky, funky slice of blues rock), the weighty 'Fetch the Spade' (a staple of Planet Rock UK playlists) made quite an impression and the melodic rhythm of 'Hold On' brought a lighter, change of pace to proceedings.
But the Silence Thieves songs were far from the only highlights – a feisty, full-on rendition of 'Bring the World to its Knees' from Dan Patlansky's 20 Stones album and a new song, 'Run' (which grunged the blues in quite intense style) were songs of genuine power and note.
The guitar histrionics that closed the set (Patlansky displaying every conceivable way to play an electric guitar and then some) was Guitar Hero stuff for the distortion pedal and sustain freaks but make no mistake – Dan Patlansky’s strength is in the blues, where he matches up favourably against any blues rock performer you care to mention.
However it was no surprise that the 40 minute set performed by Dan Patlansky and band – Patlansky (guitars, vocals), Clint Falconer (bass) and Andy Maritz (drums) – also included songs from current album Dear Silence Thieves, an outstanding blues rock album from an outstanding blues rock talent.
'Backbite' is a true live song (a chunky, funky slice of blues rock), the weighty 'Fetch the Spade' (a staple of Planet Rock UK playlists) made quite an impression and the melodic rhythm of 'Hold On' brought a lighter, change of pace to proceedings.
But the Silence Thieves songs were far from the only highlights – a feisty, full-on rendition of 'Bring the World to its Knees' from Dan Patlansky's 20 Stones album and a new song, 'Run' (which grunged the blues in quite intense style) were songs of genuine power and note.
The guitar histrionics that closed the set (Patlansky displaying every conceivable way to play an electric guitar and then some) was Guitar Hero stuff for the distortion pedal and sustain freaks but make no mistake – Dan Patlansky’s strength is in the blues, where he matches up favourably against any blues rock performer you care to mention.
In a just-play-the-classics Day and greatest hits set Age (dictated sadly by what the majority of an audience demands or expects) it was more than a little gratifying to see and hear over a third of Joe Satriani’s set made up of tracks from current album Shockwave Supernova.
But then Joe Satriani has never suffered from that new Millennium musical malady and when you consider that the superlative guitarist is in one of the most creative periods of his 30 year and 15 album career (in terms of musical sculptures created Shockwave Supernova and previous offering Unstoppable Momentum are Satriani’s best ever back-to-back releases) it’s only fitting that current material is showcased beyond the more typical gesture of "one new song and the current single."
The title track of Shockwave Supernova opened the two hour set in punchy staccato and riff-led style before kicking in to an even higher gear, which set the sonic tempo for the night.
Bryan Beller’s bass both anchored and drove the bright Supernova number while Mike Keneally added keyboard textures behind Joe Satriani’s trademark soaring six-string remarks.
Drummer Marco Minnemann, a rhythmic and percussive force of nature, was razor sharp on the tune and indeed across the entire set; Minnemann and Beller are also as good a partnership as you will find in the lands of progressively based instrumental rock (the duo are also part of power-fusion-jam trio The Aristocrats along with another outstanding six-string talent, Guthrie Govan).
Following the opening number a pulsating 'Flying in a Blue Dream' and the finger-flexing 'Ice 9' put the ridiculously talented quartet in full stride, delivering a high-energy set of Supernova material and Satch classics, including the sci-fi infused 'Crystal Planet' and 'Not of This Earth,' set closer 'Satch Boogie' and a scintillating version of 'If I Could Fly,' the catchiest and greatest melodic rock song without lyrics you will ever hear (just don’t mention Coldplay).
On this tour 'If I Could Fly' has been extended to feature Mike Keneally out front and centre, the multi-instrumentalist delivering some striking six-string licks of his own (both solo and in duet with Satriani).
It’s a fitting show-piece for one of the most underrated (simply because he doesn’t swim in the waters of the musical mainstream) but most accomplished musicians in rock.
Highlights from Shockwave Supernova included the funky little 'Crazy Joe,' the pacey 'If There Is No Heaven,' the quite touching musical vignette 'Butterfly and Zebra,' a stand-out version of 'Goodbye Supernova' (Bryan Beller’s resonating bass line underpinning the slow, semi-symphonic tune) and an uber-stonking (a high-praise Scottish term from the original German; trust me) version of the six-string muscle flexing 'On Peregrine Wings,' one of Joe Satriani’s finest musical creations.
The perhaps expected but no less well-received encore brace of 'Big Bad Moon' and 'Surfing With the Alien' sent the Glasgow crowd home happy, although it was interesting to note that the very appreciative audience was also a relatively subdued one on the night.
That latter trait is not something usually associated with a Glasgow rock crowd, but a noticeable part of any Joe Satriani show is his limited between-song chats and a set where many songs follow one after the other in rapid-fire succession.
That keeps the on-stage energy level high but can also make for an audience that is highly appreciative of the music but not overly vocal – but then in an entirely instrumental set that’s perhaps fitting.
Crowd noise and performer-to-audience interaction aside, the bottom line is Joseph Satriani is one of the greatest rock guitar practitioners of the modern era and the biggest selling instrumental rock guitarist of all-time.
And on this display, in the company of Messrs Keneally, Beller and Minnemann, it wasn't hard to see and hear why.
Ross Muir
FabricationsHQ
Photo Credit: Sakura Henderson (both images)
But then Joe Satriani has never suffered from that new Millennium musical malady and when you consider that the superlative guitarist is in one of the most creative periods of his 30 year and 15 album career (in terms of musical sculptures created Shockwave Supernova and previous offering Unstoppable Momentum are Satriani’s best ever back-to-back releases) it’s only fitting that current material is showcased beyond the more typical gesture of "one new song and the current single."
The title track of Shockwave Supernova opened the two hour set in punchy staccato and riff-led style before kicking in to an even higher gear, which set the sonic tempo for the night.
Bryan Beller’s bass both anchored and drove the bright Supernova number while Mike Keneally added keyboard textures behind Joe Satriani’s trademark soaring six-string remarks.
Drummer Marco Minnemann, a rhythmic and percussive force of nature, was razor sharp on the tune and indeed across the entire set; Minnemann and Beller are also as good a partnership as you will find in the lands of progressively based instrumental rock (the duo are also part of power-fusion-jam trio The Aristocrats along with another outstanding six-string talent, Guthrie Govan).
Following the opening number a pulsating 'Flying in a Blue Dream' and the finger-flexing 'Ice 9' put the ridiculously talented quartet in full stride, delivering a high-energy set of Supernova material and Satch classics, including the sci-fi infused 'Crystal Planet' and 'Not of This Earth,' set closer 'Satch Boogie' and a scintillating version of 'If I Could Fly,' the catchiest and greatest melodic rock song without lyrics you will ever hear (just don’t mention Coldplay).
On this tour 'If I Could Fly' has been extended to feature Mike Keneally out front and centre, the multi-instrumentalist delivering some striking six-string licks of his own (both solo and in duet with Satriani).
It’s a fitting show-piece for one of the most underrated (simply because he doesn’t swim in the waters of the musical mainstream) but most accomplished musicians in rock.
Highlights from Shockwave Supernova included the funky little 'Crazy Joe,' the pacey 'If There Is No Heaven,' the quite touching musical vignette 'Butterfly and Zebra,' a stand-out version of 'Goodbye Supernova' (Bryan Beller’s resonating bass line underpinning the slow, semi-symphonic tune) and an uber-stonking (a high-praise Scottish term from the original German; trust me) version of the six-string muscle flexing 'On Peregrine Wings,' one of Joe Satriani’s finest musical creations.
The perhaps expected but no less well-received encore brace of 'Big Bad Moon' and 'Surfing With the Alien' sent the Glasgow crowd home happy, although it was interesting to note that the very appreciative audience was also a relatively subdued one on the night.
That latter trait is not something usually associated with a Glasgow rock crowd, but a noticeable part of any Joe Satriani show is his limited between-song chats and a set where many songs follow one after the other in rapid-fire succession.
That keeps the on-stage energy level high but can also make for an audience that is highly appreciative of the music but not overly vocal – but then in an entirely instrumental set that’s perhaps fitting.
Crowd noise and performer-to-audience interaction aside, the bottom line is Joseph Satriani is one of the greatest rock guitar practitioners of the modern era and the biggest selling instrumental rock guitarist of all-time.
And on this display, in the company of Messrs Keneally, Beller and Minnemann, it wasn't hard to see and hear why.
Ross Muir
FabricationsHQ
Photo Credit: Sakura Henderson (both images)
