Blues Rock to the Power of Two
Troy Redfern – Backstage, Kinross, 3rd March 2025
Troy Redfern – Backstage, Kinross, 3rd March 2025
Resonator rocker and six-string slide slinger Troy Redfern, in the company of his go-to live drummer Nicky Waters, has gone for the power-duo approach on his second headline tour of the UK, which took in a quartet of back-to-back dates in March before the dynamic rock-blues duo hit the road again in May.
As seen and heard at the Backstage venue in Kinross (and first witnessed when the pair supported Philip Sayce on the latter’s winter 2024 tour of the UK), the one-two punch of guitars & drums made for not just an up-front and personal live experience, it added yet another sonic texture to Troy Redfern’s performing palette.
It also allowed for a rawer interpretation of songs lifted from Redfern's recent run of acclaimed blues rock albums The Fire Cosmic!, Wings Of Salvation and latest release Invocation, as well as showcasing two new songs (only otherwise heard on the Philip Sayce tour) and a couple of instrumental/ interlude pieces that allowed Redfern to play with tone and texture, built upon triggered loops (no backing tracks were used).
The set opened with the two newer songs, 'Shake (Lay It Down)' and 'Take My Soul.'
The former, a big-beat, punkabilly rocker, was fittingly delivered by Troy Redfern with a snarl in his raspy vocal tones; the mid-tempo latter, built on part groove, part gritty riff, was an equally purposeful offering that sat somewhere between dirty blues and tribal metal.
While both numbers would have sat comfortably on any of Troy Redfern's aforementioned albums (and may well find a home on a future release) in this live, power-duo setting, they carried a rawer, earthy vibe, with a decidedly visceral edge.
As seen and heard at the Backstage venue in Kinross (and first witnessed when the pair supported Philip Sayce on the latter’s winter 2024 tour of the UK), the one-two punch of guitars & drums made for not just an up-front and personal live experience, it added yet another sonic texture to Troy Redfern’s performing palette.
It also allowed for a rawer interpretation of songs lifted from Redfern's recent run of acclaimed blues rock albums The Fire Cosmic!, Wings Of Salvation and latest release Invocation, as well as showcasing two new songs (only otherwise heard on the Philip Sayce tour) and a couple of instrumental/ interlude pieces that allowed Redfern to play with tone and texture, built upon triggered loops (no backing tracks were used).
The set opened with the two newer songs, 'Shake (Lay It Down)' and 'Take My Soul.'
The former, a big-beat, punkabilly rocker, was fittingly delivered by Troy Redfern with a snarl in his raspy vocal tones; the mid-tempo latter, built on part groove, part gritty riff, was an equally purposeful offering that sat somewhere between dirty blues and tribal metal.
While both numbers would have sat comfortably on any of Troy Redfern's aforementioned albums (and may well find a home on a future release) in this live, power-duo setting, they carried a rawer, earthy vibe, with a decidedly visceral edge.
Such raucous moments were only part of this particular power-duo's sound, however; there were also some cleverly created atmospheres (one guitar had a pick-up that delivered a synth-pad backing for Troy Redfern to play over, before settling into the next song of choice) as well as progressive shades and the occasional improvised moment.
(If you dip into Troy Redfern’s Bandcamp back catalogue you will find this is a man with more strings to his bow than the six tuned to his trusted and faithful Triolian Resonator).
Talking of said instrument, it was, naturally, on call for a number of fan favourites including southern-tinged rock 'n' roller 'Sweet Carolina' and the slide 'n' shuffle overdrive of 'Come On.'
The latter elicited a "c'mon c'mon!" call & answer response from the Backstage attendees that even surprised Troy Redfern - like a lot of seated club venues, Backstage audiences are more about quiet appreciation than voiceferous approval; but their shout-back response underlined, and reinforced, they were also having a bloody good time.
The Resonator also carries such a strong bottom end that there were times you could be forgiven for looking around the room to see where the bass player was situated (kudos here to the sound on the night, where guitars (and their effects), voice and drums all got a fair and balanced share of the frequencies).
Resonator aside, Troy Redfern’s Silvertone guitar and electric sitar (a highlight of the entire show) ensured there was plenty of tonal variation.
The latter, in the hands and nimble fingers of Redfern, produced some wonderful Indo-Asian atmospheres, including an introductory sequence to the spacious, cinematic vibe of 'The Calling' (an Invocation highlight and one of the best songs Redfern has yet written).
(If you dip into Troy Redfern’s Bandcamp back catalogue you will find this is a man with more strings to his bow than the six tuned to his trusted and faithful Triolian Resonator).
Talking of said instrument, it was, naturally, on call for a number of fan favourites including southern-tinged rock 'n' roller 'Sweet Carolina' and the slide 'n' shuffle overdrive of 'Come On.'
The latter elicited a "c'mon c'mon!" call & answer response from the Backstage attendees that even surprised Troy Redfern - like a lot of seated club venues, Backstage audiences are more about quiet appreciation than voiceferous approval; but their shout-back response underlined, and reinforced, they were also having a bloody good time.
The Resonator also carries such a strong bottom end that there were times you could be forgiven for looking around the room to see where the bass player was situated (kudos here to the sound on the night, where guitars (and their effects), voice and drums all got a fair and balanced share of the frequencies).
Resonator aside, Troy Redfern’s Silvertone guitar and electric sitar (a highlight of the entire show) ensured there was plenty of tonal variation.
The latter, in the hands and nimble fingers of Redfern, produced some wonderful Indo-Asian atmospheres, including an introductory sequence to the spacious, cinematic vibe of 'The Calling' (an Invocation highlight and one of the best songs Redfern has yet written).
'The Calling' was followed by another Invocation nugget, 'Native,' where tribal drums and soundscape slide set the atmospheric scene before the song kicked into higher, rugged riff gear.
It’s also interesting to musically note such songs, along with some of the chord structures and keys utilised (which ain’t your standard rock-blues fare) put Troy Redfern, in terms of tonal approach, alongside the likes of late and lamented American alt-blues musician Chris Whitley (a major influence on Redfern).
Other highlights included an outing for the swampy slide blues of 'John The Revelator' (from 2020 album Islands), the rollicking, rockabilly rhythm of 'Voodoo Priestess,' a rambunctious rendition of boogie number 'Waiting For Your Love' and the fast-paced, punk-boogie of 'Sanctify.'
As has become the set closing norm, 'Sanctify' was extended to let both Troy Redfern and Nicky Waters show their chops (shout out here for Waters, whose driving beats, cymbal shimmers and razor sharp snare (and rim shots) were as integral to the songs as Redfern’s thick riffage and sizzling slide work).
Nicky Waters also proved you don’t need a drum kit the size of a transit van to make a great sound and deliver an impacting (in both senses) rhythm.
The somewhat impromptu, but audience demanded, encore provided insight into the fully improvised side of Troy Redfern, who asked Nicky Waters for a rhythmic signature in sevens.
The drummer duly obliged with a sharp little riff from which Redfern built his own riff, along with a repeated vocal line refrain; he then expanded the song through a couple of change-ups and a solo lead, with Waters reacting to on-the-fly cues as and when necessary.
It was a fitting way to end a great show and highlight the clear and obvious simpatico between the pair.
More power (duo) to them both.
Ross Muir
FabricationsHQ
Troy Redfern will be back out on the road in May, with support from Red Giant (see dates below).
Photo credits: Ian Potter / LightPress Media & Design Ltd (https://www.lightpress.co.uk/)
It’s also interesting to musically note such songs, along with some of the chord structures and keys utilised (which ain’t your standard rock-blues fare) put Troy Redfern, in terms of tonal approach, alongside the likes of late and lamented American alt-blues musician Chris Whitley (a major influence on Redfern).
Other highlights included an outing for the swampy slide blues of 'John The Revelator' (from 2020 album Islands), the rollicking, rockabilly rhythm of 'Voodoo Priestess,' a rambunctious rendition of boogie number 'Waiting For Your Love' and the fast-paced, punk-boogie of 'Sanctify.'
As has become the set closing norm, 'Sanctify' was extended to let both Troy Redfern and Nicky Waters show their chops (shout out here for Waters, whose driving beats, cymbal shimmers and razor sharp snare (and rim shots) were as integral to the songs as Redfern’s thick riffage and sizzling slide work).
Nicky Waters also proved you don’t need a drum kit the size of a transit van to make a great sound and deliver an impacting (in both senses) rhythm.
The somewhat impromptu, but audience demanded, encore provided insight into the fully improvised side of Troy Redfern, who asked Nicky Waters for a rhythmic signature in sevens.
The drummer duly obliged with a sharp little riff from which Redfern built his own riff, along with a repeated vocal line refrain; he then expanded the song through a couple of change-ups and a solo lead, with Waters reacting to on-the-fly cues as and when necessary.
It was a fitting way to end a great show and highlight the clear and obvious simpatico between the pair.
More power (duo) to them both.
Ross Muir
FabricationsHQ
Troy Redfern will be back out on the road in May, with support from Red Giant (see dates below).
Photo credits: Ian Potter / LightPress Media & Design Ltd (https://www.lightpress.co.uk/)
