No Compromise
Sari Schorr; Matt Pearce & The Mutiny – Oran Mor, Glasgow, 18th April 2024
Sari Schorr; Matt Pearce & The Mutiny – Oran Mor, Glasgow, 18th April 2024
Sari Schorr and her partially new (at least for this tour) band made a welcome return to Glasgow as part of her 10 date spring tour of the UK, which itself followed a six week tour of Europe.
Indeed since day one in promotion of Mike Vernon produced debut album Force Of Nature (a title that’s isn’t far off the powerfully voiced mark) Miss Schorr and her band of various brothers in blues-rock arms have ensured Scotland forms part of any UK tour, something that is not lost on, and highly appreciated by, her north of the border fanbase, as evidenced by a very healthy sized Oran Mor crowd.
This particular tour was also something of a doubleheader with one of 'oor ain' Matt Pearce ("nice to be surrounded by the same accents again!"), although it wasn’t an equal share of set time.
Given Sari Schorr’s stature in the blues rock field and with Matt Pearce still making inroads with The Mutiny (albeit, like Schorr, with a couple of critically acclaimed studio albums under his belt) a 50 minute showcase set (well above the usual support or special guest allocation) for Pearce and his mutinous crew, and a full 90 minute set from Sari Schorr and her band was probably the right call.
As anyone familiar with Matt Pearce & The Mutiny and their brace of stand-out albums will know, their music is far removed from the rhythmically crunching hard rock of Voodoo Six where Pearce also plys his six-string trade.
The musically celebrative results from the sextet (Matt Pearce - vocals, guitars; Daliah Sherrington - harmony vocals; Ollie Dixon - drums; Ghost - bass; Chris Burgham - keys; Pete Back - sax) is an expressive and infectious mix of soul, funk and blues, sometimes as separate entities but oft-times with all three in the musical melting pot (with very satisfying results).
Indeed since day one in promotion of Mike Vernon produced debut album Force Of Nature (a title that’s isn’t far off the powerfully voiced mark) Miss Schorr and her band of various brothers in blues-rock arms have ensured Scotland forms part of any UK tour, something that is not lost on, and highly appreciated by, her north of the border fanbase, as evidenced by a very healthy sized Oran Mor crowd.
This particular tour was also something of a doubleheader with one of 'oor ain' Matt Pearce ("nice to be surrounded by the same accents again!"), although it wasn’t an equal share of set time.
Given Sari Schorr’s stature in the blues rock field and with Matt Pearce still making inroads with The Mutiny (albeit, like Schorr, with a couple of critically acclaimed studio albums under his belt) a 50 minute showcase set (well above the usual support or special guest allocation) for Pearce and his mutinous crew, and a full 90 minute set from Sari Schorr and her band was probably the right call.
As anyone familiar with Matt Pearce & The Mutiny and their brace of stand-out albums will know, their music is far removed from the rhythmically crunching hard rock of Voodoo Six where Pearce also plys his six-string trade.
The musically celebrative results from the sextet (Matt Pearce - vocals, guitars; Daliah Sherrington - harmony vocals; Ollie Dixon - drums; Ghost - bass; Chris Burgham - keys; Pete Back - sax) is an expressive and infectious mix of soul, funk and blues, sometimes as separate entities but oft-times with all three in the musical melting pot (with very satisfying results).
The perfect appetiser to what’s on offer from the band and latest album The Soul Food Store came from opener 'Got A Thing Going On,' a big dollop of soul-swinging, sax-backed deliciousness and the perfect appetiser to the 50 minute set that followed.
The choppy guitar and cool harmony vocalising from Matt Pearce and Daliah Sherington on 'Never Get Away From Love' upped the soul-funk quotient before the brooding and weighty 'All The Gods' added a bluesier shade, complete with some feisty, well-placed guitar bursts (and tasty solo) from Pearce.
Given The Soul Food Store was released while folks were still testing the post-Covid waters and the band struggled to coordinate or schedule time together (putting a six-piece on the road is no easy feat for any number of logistical reasons, let alone after a pandemic), the album got lost a little in the shuffle.
Kudos then for Matt Pearce’s decision not to compromise and take the easier tour road of going out as a power trio or quartet, happier to bide his time, be true to his musical muse and wait for the right tour to display the album’s wares to its, and the full band’s, potential.
The tour with Sari Schorr was therefore a golden opportunity to re-promote an album that deserves much wider exposure, borne out by the fact the first eight songs all came from The Soul Food Store.
Each made their mutinous mark, but special mention to the rhythmically funky (and Santana-esque) 'Promised Land,' soul-rock ballad 'Bring it All To Me' (Daliah Sherrington’s harmony vocals shining here, as did Matt Pearce’s soul-crying solo), blues-jazz boogie number 'From Here To The Moon' (with some wicked slide work from Pearce) and up-tempo, rock and soul-roller 'King of the World.'
The latter wrapped up The Soul Food Store promotion, but not the set – a one-two finale of the funky, bass popping 'Scarecrowing' (four-stringer Ghost is the band’s secret weapon), from debut album Gotta Get Home, and a fully mutineer’d cover of 'Oh Well,' reinforced just how good a band this is; one that will assuredly benefit from the tour in terms of increased fan-base, album sales at the merch desk and beyond.
The choppy guitar and cool harmony vocalising from Matt Pearce and Daliah Sherington on 'Never Get Away From Love' upped the soul-funk quotient before the brooding and weighty 'All The Gods' added a bluesier shade, complete with some feisty, well-placed guitar bursts (and tasty solo) from Pearce.
Given The Soul Food Store was released while folks were still testing the post-Covid waters and the band struggled to coordinate or schedule time together (putting a six-piece on the road is no easy feat for any number of logistical reasons, let alone after a pandemic), the album got lost a little in the shuffle.
Kudos then for Matt Pearce’s decision not to compromise and take the easier tour road of going out as a power trio or quartet, happier to bide his time, be true to his musical muse and wait for the right tour to display the album’s wares to its, and the full band’s, potential.
The tour with Sari Schorr was therefore a golden opportunity to re-promote an album that deserves much wider exposure, borne out by the fact the first eight songs all came from The Soul Food Store.
Each made their mutinous mark, but special mention to the rhythmically funky (and Santana-esque) 'Promised Land,' soul-rock ballad 'Bring it All To Me' (Daliah Sherrington’s harmony vocals shining here, as did Matt Pearce’s soul-crying solo), blues-jazz boogie number 'From Here To The Moon' (with some wicked slide work from Pearce) and up-tempo, rock and soul-roller 'King of the World.'
The latter wrapped up The Soul Food Store promotion, but not the set – a one-two finale of the funky, bass popping 'Scarecrowing' (four-stringer Ghost is the band’s secret weapon), from debut album Gotta Get Home, and a fully mutineer’d cover of 'Oh Well,' reinforced just how good a band this is; one that will assuredly benefit from the tour in terms of increased fan-base, album sales at the merch desk and beyond.
Sari Schorr’s set and performance was, as ever, compelling, but also interesting, for two reasons.
Firstly, she is currently touring as a four-piece (sans keyboards), which meant guitarist Ash Wilson (the first choice six-string foil to Schorr these last few years) and rhythm section Chris Cliff (bass) & Harry Bent (drums), had to be slightly busier, while still allowing Schorr’s own material, and her voice, room to breathe. Such arrangement considerations was something Messrs Wilson, Cliff & Bent took very seriously, as witnessed at the soundcheck – only the second show with Harry Bent (Lee Morris was behind the kit for the European dates), the trio talked through and played around with various rhythmic cadences, tempos and even how much reverb to put on their backing vocals, to ensure the desired tone and right vibe for each song was captured.
Secondly, rather than concentrate solely on her own material, Sari Schorr featured four numbers from last year’s Billboard Blues Chart topping Joyful Sky, the beautifully conceived, slow burn blues album from Godfather of Tone Robin Trower, featuring Schorr on vocals.
Each Joyful Sky number, including an opening salvo of trademark Trower numbers 'The Circle is Complete' and 'The Distance,' followed by the title track (a Bond movie theme by any other name), allowed Sari Schorr to explore the smouldering blues depths of her vocality (something we don’t hear enough of).
They also afforded Ash Wilson the luxury of giving it the full Trower, or more accurately channelling his inner Trower (and Trower tone) while outwardly delivering as Ash Wilson, one of the best blues-hued players on the circuit.
(Kudos too for not missing a note when his guitar strap popped loose during 'The Distance,' handling his now bucking guitar as well as he did his solo).
It was also interesting, and a revisited pleasure, to hear the aforementioned debut album getting as much song exposure as it did (six numbers featured from Force Of Nature as opposed to only three from last studio album, Never Say Never).
But then with a new album not too far away, it makes sense to not overplay the previous album whilst cleverly reminding of how good Force Of Nature is.
Timely, Force-full reminders included the flirtatious double-entendre word-play of the rhythmic pump (sorry, now I’m at it) and blues sway of 'Demolition Man' (featuring a fittingly wild but controlled solo from Ash Wilson), the rocking riff and rolling raunch of 'Aunt Hazel' and the poignant lyricism of gratitude song 'Ordinary Life' (the piano-led studio version here replaced by a subtle guitar and beautifully expressive bass arrangement).
Sitting within those Force Of Nature numbers was another song from Joyful Sky, the brooding mid-tempo 'Peace Of Mind,' which featured strong harmonies from Ash Wilson & Chris Cliff.
Another highlight was an outing for new number 'Highway 69' (think Doobie Brothers in rock and roll mode), which featured a "gettin' down and dirty" lyric that dovetailed in double meaning suggestiveness with 'Demolition Man' (we'll leave it there).
As mentioned, three Never Say Never numbers also made an appearance – the album's moving and melodic slow blues number 'Beautiful' (Sari Schorr’s best vocal of the night), and the hot 'n' rockin' brace of 'Valentina' and 'Maybe I’m Fooling.'
Firstly, she is currently touring as a four-piece (sans keyboards), which meant guitarist Ash Wilson (the first choice six-string foil to Schorr these last few years) and rhythm section Chris Cliff (bass) & Harry Bent (drums), had to be slightly busier, while still allowing Schorr’s own material, and her voice, room to breathe. Such arrangement considerations was something Messrs Wilson, Cliff & Bent took very seriously, as witnessed at the soundcheck – only the second show with Harry Bent (Lee Morris was behind the kit for the European dates), the trio talked through and played around with various rhythmic cadences, tempos and even how much reverb to put on their backing vocals, to ensure the desired tone and right vibe for each song was captured.
Secondly, rather than concentrate solely on her own material, Sari Schorr featured four numbers from last year’s Billboard Blues Chart topping Joyful Sky, the beautifully conceived, slow burn blues album from Godfather of Tone Robin Trower, featuring Schorr on vocals.
Each Joyful Sky number, including an opening salvo of trademark Trower numbers 'The Circle is Complete' and 'The Distance,' followed by the title track (a Bond movie theme by any other name), allowed Sari Schorr to explore the smouldering blues depths of her vocality (something we don’t hear enough of).
They also afforded Ash Wilson the luxury of giving it the full Trower, or more accurately channelling his inner Trower (and Trower tone) while outwardly delivering as Ash Wilson, one of the best blues-hued players on the circuit.
(Kudos too for not missing a note when his guitar strap popped loose during 'The Distance,' handling his now bucking guitar as well as he did his solo).
It was also interesting, and a revisited pleasure, to hear the aforementioned debut album getting as much song exposure as it did (six numbers featured from Force Of Nature as opposed to only three from last studio album, Never Say Never).
But then with a new album not too far away, it makes sense to not overplay the previous album whilst cleverly reminding of how good Force Of Nature is.
Timely, Force-full reminders included the flirtatious double-entendre word-play of the rhythmic pump (sorry, now I’m at it) and blues sway of 'Demolition Man' (featuring a fittingly wild but controlled solo from Ash Wilson), the rocking riff and rolling raunch of 'Aunt Hazel' and the poignant lyricism of gratitude song 'Ordinary Life' (the piano-led studio version here replaced by a subtle guitar and beautifully expressive bass arrangement).
Sitting within those Force Of Nature numbers was another song from Joyful Sky, the brooding mid-tempo 'Peace Of Mind,' which featured strong harmonies from Ash Wilson & Chris Cliff.
Another highlight was an outing for new number 'Highway 69' (think Doobie Brothers in rock and roll mode), which featured a "gettin' down and dirty" lyric that dovetailed in double meaning suggestiveness with 'Demolition Man' (we'll leave it there).
As mentioned, three Never Say Never numbers also made an appearance – the album's moving and melodic slow blues number 'Beautiful' (Sari Schorr’s best vocal of the night), and the hot 'n' rockin' brace of 'Valentina' and 'Maybe I’m Fooling.'
A less noticeable aspect of the performance, only evident on the quieter passages of a few songs where Sari Schorr was slightly huskier or breathier than normal (but still deeply powerful), was that the singer was a little under the weather (the vocal toll and travelling toil of a rigorous European schedule catching up and leading to a touch of bronchitis).
It would have been easy (and arguably sensible) for her to duck a few notes or get vocally creative but, again, no compromise.
Whether a festival, packed venue or a more intimate/ smaller crowd acoustic show, Sari Schorr gives it 100% (she demands it of herself, and she would deliver no less to those that have come out to see her).
Such vocal heights were heard to their fullest on set closer 'Black Betty' (the Lead Belly song has been a signature Sari Schorr number since the first album and tour); when the band built to the song's climax, Schorr was Queen of not just New York’s blues rock fraternity but Queen of the High C’s on a ridiculously clean and well-held outro note.
Similarly, on the double-covers encore of 'I Just Wanna Make Love To You' (featuring a bubbly 'n' funky bass solo) and Zep’s 'Rock And Roll,' she knocked the top note on the finale of the former so far out of Oran Mor it was probably heard in Sauchiehall Street some two miles away.
To close on the topic of compromise, I’m not sure Sari Schorr and Matt Pearce even know what the word means; two consummate professionals who love to perform, surround themselves with top-notch musicians and who are very much the real deal.
The results? Uncompromising performances and a collective win-win for a fully satisfied audience.
Ross Muir
FabricationsHQ
Photo Credit (all images): Scott Anderson, Zeezee Digital Imaging
It would have been easy (and arguably sensible) for her to duck a few notes or get vocally creative but, again, no compromise.
Whether a festival, packed venue or a more intimate/ smaller crowd acoustic show, Sari Schorr gives it 100% (she demands it of herself, and she would deliver no less to those that have come out to see her).
Such vocal heights were heard to their fullest on set closer 'Black Betty' (the Lead Belly song has been a signature Sari Schorr number since the first album and tour); when the band built to the song's climax, Schorr was Queen of not just New York’s blues rock fraternity but Queen of the High C’s on a ridiculously clean and well-held outro note.
Similarly, on the double-covers encore of 'I Just Wanna Make Love To You' (featuring a bubbly 'n' funky bass solo) and Zep’s 'Rock And Roll,' she knocked the top note on the finale of the former so far out of Oran Mor it was probably heard in Sauchiehall Street some two miles away.
To close on the topic of compromise, I’m not sure Sari Schorr and Matt Pearce even know what the word means; two consummate professionals who love to perform, surround themselves with top-notch musicians and who are very much the real deal.
The results? Uncompromising performances and a collective win-win for a fully satisfied audience.
Ross Muir
FabricationsHQ
Photo Credit (all images): Scott Anderson, Zeezee Digital Imaging