festivaLs

job of singing too. Having played the pub stages at Colne in previous years, Tommy had always wanted to play the big one, and having made it up there did not disappoint an eager audience. In a set filled with classic blues tunes from the likes of Smiley Lewis and Tommy Johnson, Robert Nighthawk’s Annie Lee was a particularly well-chosen number allowing TC to exercise his full, rounded vocals and work in some gutsy harp lines too. What an excellent curtain raiser for the main event of the evening.

Bounding on stage, clearly excited to be introducing the centrepiece of the night, not to say the entire Festival, top UK harpist Giles Robson lit the fuse of the Colne Blues Harp Explosion. With the backing of the Sugar Blue Band, Giles gave the crowd a little bit of a harmonica history lesson and his impression of a train – something every harmonica player has to do! Having set the scene, Giles introduced the three artists who each have made a huge impression on the blues harp world.

First up, Billy Branch in trademark Panama hat, and smiling broadly, tore into Going Down , and Hoodoo Man Blues , then in a typically Chicago move, went walkabout through the crowd –blowing kisses to the girls through the harmonica before handing over the stage to Sugar Blue. Having been called the ‘Jimi Hendrix of the harp’, expectations were high, but were completely surpassed by the sheer technical wizardry on display, Dressed in black, and armed with harmonica bandolier, numbers like Red Hot Mama , and Hoochie Coochie Man , framed ridiculously fast and fluid solos, non-stop cascades of riff upon riff, upper register ringing around the auditorium. Cotton Tree, a tribute for mentor James Cotton, allowed Sugar to show another more lyrical facet of his art, before winding up once more for a solo train ride to finish with a flourish. Charlie Musselwhite, the most laid back, genial gentleman bluesman around, made a characteristically self-deprecating entry – ‘I only know one song’. Luckily, it was a song that has many aspects, manifested in gems such as Blues, Why Do You Worry Me?, Wild, Wild Woman, The Blues Overtook Me , and It Ain’t Right . After the individual performances from each of the harp legends, each of whom could easily have headlined on their own, how else could the show close except with a grand finale? With all of the harmonica players that had done so much to entertain that night – TC, Giles, Billy, Sugar and Charlie – all blowing together, how fitting that they finished up on Sonny Boy Williamson’s Help Me , with the refrain ‘I can’t do it all by myself’, to send the Colne crowd off with memories of a very special evening indeed.

Sunday

As the Sunday rolled around, there was just time to catch the British Blues Awards ceremony down the hill from the Muni, and note that one of the artists on the bill later that day had bagged vocalist, album and songwriter of the year awards. So, after having a taste of the jazzy end of the blues scale, courtesy of Ginger Baker’s Jazz Confusion, and a well-tailored jump session with The Jive Aces, it was with some anticipation that multiple award-winner Ian Siegal came to the stage. Opening with Kingdom Come and Groundhog Blues , a dirty, lowdown mood was quickly and powerfully established, with tight, powerful riffs and mean, gritty vocals. Ian played with emotional intensity, lightening up with classic playful R’n’B sounds like Sugar Rush , then hitting a quick change into much more intense imagery with Revelator . So well received was this set, that there were two encores: Baby, Let Me Follow You

Down and Forever Young , which really set the crowd alight, singing along like it was the Last Waltz . Following Ian Seigal, it was time for another of the many legends on the Colne line-up, Bill Wyman’s Rhythm Kings. The Stones bass player, newly in receipt of a British Blues Great award, puts a big outfit together under this banner, which leaves plenty of room for variation in arrangements and soloists. Keyboard duties and occasional vocal leads were provided courtesy of the great Georgie Fame, alternating the vocals with talented female lead singer Beverley Skeete. There were plenty of selections from the R&B and soul songbooks to keep the crowd happy and take a singalong mood home with them.

Monday Bank Holiday Monday arrived with treats in store for those with stamina enough to make it through the long weekend. Opening the accounts

Chris Farlowe & the Norman Beaker Band, fresh from gaining a British Blues Great award, put together a great show where the patter between 60s legend Chris and bandleader Norman provided almost as much entertainment as the musical content, with signature tune Handbags and Gladrags and Small Faces classic All or Nothing standing out.

A group who made their name in the 1970s, Climax Blues Band, stepped up to take the festival in a more funky direction, with guitarist Les Hunt working in some nice picking. Quite a number of tunes from the 1976 Gold Plated album featured, including their huge hit Couldn’t Get It Right . A nice touch was to dedicate the suitably elegiac

Last Chance Saloon to original band member Colin Cooper, whose last gig with CCB was coincidentally at Colne in 2008.

Demonstrating again the breadth of blues interpretations on the bill, The Pretty Things took a little psychedelic detour through a trio of tracks from the historic S.F. Sorrow album, before returning to more traditional blues ground. The influence of Willie Dixon and Bo Diddley is there in the name of the band after all, so it was fun to hear their energetic take on the likes of I Can’t Be Satisfied , Little Red Rooster , and Can’t Judge a Book by the Cover

Dick Taylor’s slide guitar and Frankie Holland’s harp contributed greatly to putting real guts into the Pretty sound, which sent the audience off for the afternoon break with a smile on their faces (and a ringing in their ears!).

The time came for the evening shift to clock in, and a hugely anticipated welcome to Wilko Johnson poignantly and potentially playing his last gigs. The former Feelgoods guitarist however, showed no signs of doing anything other than putting on a bravura performance, opening up with Down By The Jetty , Going Back Home and Roxette from the Feelgood’s catalogue followed along in short order. Accompanied by the inestimable Norman WattRoy on bass, and backed by Dylan Howe behind the drums, there could hardly have been an inch of the stage that wasn’t covered by one or other of Wilko or Norman, as they ricocheted, stomped, marched and bounced all over like men possessed. Using the guitar as a surrogate girlfriend or mowing down the audience with an imaginary machine gun, Wilko threw an incredible amount of energy around the stage. Bringing the set to a close with some more Feelgoods classics (Back In The Night , She Does It Right), and encoring with Bye Bye Johnny¸ at the end there was a solid 15 minutes of standing ovation and chanting as a mark of the affection this unique musician holds in the British R&B world.

Following this was no mean feat, but Scottish blues-rockers, King King, perhaps buoyed by their multiple awards, including Band of the Year, came on filled with confidence. Sadly there was no time left to enjoy the final part of the show, so had to leave behind King King, Chas Hodges and Paul Lamb and the Kingsnakes for another time – congratulations to Paul on his Harp Player of the Year award.

As first time visitors to Colne and the Great British RnB Festival, I can only say how impressive a line-up the team assembled, which is testament to the reputation they have built up over the years. There seemed to be a huge amount of support for the Festival in the community and equally as much engagement by the artists in the local scene, which can only help make the Festival more successful in future. Congratulations on making a blues harp fan’s dreams come true!

Glenn noble

One of the advantages offered by a large event such as the Great British Rhythm & Blues Festival in Colne is the opportunity it provides for us all to listen to established ‘stars’ whilst also seeking out the other artists who play in the smaller venues and pubs around the town. I made this my priority at this Year’s Festival, hence most of this review is designed to highlight a few who, for too long, have flown under the blues radar.

Perhaps the most well received of all these must be the incredibly talented young harmonica-led blues band TC & The Moneymakers. They had been selected, from several dozen of other bands who ‘auditioned’, to appear on the

International Stage at the beginning of a night devoted entirely to the International harmonica legends Billy Branch, Sugar Ray, and Charlie Musselwhite. No pressure then.

Think what their leader Tom Cocks (TC) must have felt when he found out that he was opening for some of his all time heroes, and in a venue full of harp aficionados, yet you would have thought he and the rest of his smartly presented band did this sort of thing every day of the week. Their sound balance was perfect throughout their set, Tom’s vocals were clear and powerful, his harmonica playing filled the venue with such a rich sound that you would have thought he was an entire brass section, and Karl Moon on guitar was an absolute revelation. I suspect that many of the audience who wandered in mid-way through their set would have been convinced that this young band were part of the US contingent of megastars flown in especially for the occasion.

Whilst Tom’s considerable talent was plain for all to see, his skill and feel for the music was more than matched by his lead guitarist. Karl Moon’s feel for the blues belies his young age and more than matched many of the other guitarists who graced the International stage over the entire weekend.

Others lesser known artists who managed to catch my ear included Dave Onions, Jocelyn Knight, and Johnny Guitar Williamson

Dave Onions from Warwickshire is no spring chicken but his performance on the acoustic stage left most younger souls for dead. His lightning fast finger-picking guitar style is, as he admitted on stage, ‘more rhythm than blues’, but I’d be happy to travel a very long distance to see him perform. His solo acoustic set was full of driving rhythm, contrasting gentler flourishes as melody, plus a solid bass line; all without the aid of even a stomp box. He can also sing, tell the odd joke, and make a standard acoustic guitar sound like a flamenco one moment, a sitar another, and even a harp on occasions. If you get a chance to see him, take it.

Jocelyn Knight, formerly the backing singer for Doctor Truth, now the lead vocalist in the same band is absolutely fabulous. Doctor Truth have always been a great band but Jocelyn’s inclusion has now added another dimension; glamour, a lovely soulful groove and dynamic stage presence to rival the very best in the business. Listening to Jocelyn singing one of their slower numbers You’re All I Need , I really thought I was at a Blues Festival! This is a singer who really understands the value of variations in speed and volume.

If there is a more laid back, talented, blues guitarist in the country than Johnny Guitar Williamson, I’d like to meet him. Johnny used to be lead guitar with The Animals, but a few years ago teamed up with Mick Bowden as Bowden & Williamson. More recently they have been performing in a great four piece band under the name of Blue Swamp, which is how they appeared on the British Stage at Colne. Apart from anything else, they are one of the few blues bands who all sing, including the drummer!

Given their pedigree I’m amazed that more people don’t flock to their gigs, if only to hear Johnny play guitar. He’s another member of the grey haired brigade, a cool guy in every respect. Wonderful intricate melodies, a lovely tone, understated throughout, but capable of great emotional intensity, his guitar playing is what all blues guitarists should strive for, music that expresses the inner life, thoughts, and emotions of the songwriter. My vote for blues guitarist of the year.

bernie stone

neWark Blues

FesTIVal

newark, linCs, uk september 6th – 8th 2013

With some tweaks to the festival in 2013 – British Blues Awards have moved and the festival has a new home, a very different environment now in the plush 1920s Palace Theatre across town from the normal location, the Castle, due to building works; there was no doubt the Castle setting was missed. The theatre may be the main venue but for the first weekend in September the whole town takes on a festival feel, as, scattered throughout the town in various pubs, is a wealth of quality blues acts.

Friday

Friday night was dominated by anticipation for The Hoax headlining, with the chance to catch this band and hear tracks from their new album. Waiting for the headliners there was a scintillating line-up to get our dancing shoes moving. Gary Grainger, MC for the festival, started off by introducing Laurence Jones to open the festival; the amount of live performances this young talent has under his belt shone through with an accomplished and polished act. Laurence is at home on the stage, and this confidence showed from the opening number. His rhythm section is solid, but I felt there was little spark, at times they seemed quite ponderous; not doing enough to reflect, build on and add depth of tone to the sound being produced by the young man fronting. Can’t Keep Living Like This a self-penned number that is full of intricate guitar work. I loved the mix with Too Good another self-penned song that was lighter and funkier.

If this was the quality of the first set then the following bands had better be on tip-top form! Albany Down, made a dramatic entry and were definitely more rock than blues. That said, they have been making a name for themselves on the blues circuit, and there was divided opinion as to whether they are the band for a blues festival, but there can be no doubt that there is great chemistry between the members, delivering a very professional performance with a varied set including Born Under a Bad Sign given the Albany stamp so it was not another mundane cover. They delivered some great self-penned numbers with strong lyrics, but there was no real emotion in their delivery and again, I thought the bass needed to be stronger to balance the guitar sound.

Then The Hoax stepped onto the stage. They are a collection of formidable talent and one of the best British blues bands around, exciting and delighting the crowd with a combination of super solid rhythm section providing the bedrock for the two stylish guitarists and Hugh Coltman, with scrumptious vocals creating the Hoax sound. Delivering a mixed set of Hoax classics and numbers from their much awaited CD, with the band’s thanks to their fans whose pledges ensured the album was produced and Big City Blues became a reality. The song Don’t Shake My Hand was a spellbinder, sending shivers down the spine, the music hitting core emotions, new track Hipslicker was another I liked. They took the roof off the Palace Theatre, the audience would have loved them to play all day.

Saturday

A Newark Tradition is Saturday afternoon is free, this works well in the Castle as shoppers hear the music and wander in and stay, but was not possible in a formal theatre environment. Opening the afternoon; Brothers Groove, producing a really good groovy sound using the two different guitar tones of the lead and rhythm guitar to good effect, the set definitely won them new fans with a very tight set proving that the whole can be greater than the sum of the parts; Brothers Groove definitely hit the right groove; blues with a melodic funky edge.

Now for a change of tone and approach to the blues, with a soulful set delivered by Rhythm Zoo, fronted by vocalist Andi Hall provided an entertaining set of covers that suited her vocal range and style; pleasing the crowd fitting the slot like a glove, the band supporting Andi are a team of excellent musicians with Dermot (Drums), Pete (Bass) and Phil (guitar).

The Mustangs closed the afternoon with a set that always pleases, strutting their blues across the stage, as they delivered their signature mixture of solid covers and numbers of their well-received current CD Speed of Love . This is a high energy band who really enjoy playing together creating an infectious rapport between band and audience no wonder they are so popular on the circuit.

The evening started; with local band Blues Boys Kings, who delivered a set of self-penned and standards which got the crowd warmed up and ready for some fun and more blues music. The short set ended far too soon, but they definitely got everyone present into the mood for the good times ahead.

Bare Bones Boogie Band, with the strong vocals from Helen giving this band a distinctive sound as they deliver a boogie sound that reflects their name. They treated the crowd to a pleasing mix of numbers from their CDs, including the latest Tattered and Torn creating a varied sound including blues, blues/rock definitely a feel good sound.

Highlights of the evening, two very different acts, Ron Sayer Jr. Band, followed by Jo Harman & Company. Ron with his guitar and song writing skills brought some class to the proceedings showcasing his musical talent, and who, with his band generated a likable high quality, three dimensional sound. Ron engaged with the crowd and had great rapport, building a festival atmosphere with his varied set; slow, funky, rocky, but always the blues. Ron and Charlotte are a real team, harmonising, singing duets and taking the lead vocals on various tracks, the rest of the band build their sound around this solid heart, creating a sound that filled the auditorium and warmed up the crowd, they certainly wanted more.

The festival was now ready for the last act, headlining tonight Jo Harman and Company. She bounced on to stage in her gold boots, full of energy, she delivered a polished performance, winning her even more fans that night, especially with her stellar performance of My Amnesty . She wooed the audience and the musicianship provided by The Company were excellent, allowing her voice to shine through. Jo is a class act who entertains you every time, no wonder she is appearing at festivals and clubs across the UK and Europe.

With the mix of Pubs and the main festival venue there was no excuse not to catch some fantastic live music over the weekend..

liZ AiKen

lInTOn Blues FesTIVal

alma inn, linton, ross on wye June 21st – 23rd 2013

Friday

Ben Poole Band. On a fine sunny evening (after weeks of rain) Linton was set to stage yet another festival, and to open was Ben and his band. It all started so well with Ben blasting out loud and clear some real good rocking, soulful blues and then-disaster! One of the generators smouldered and died. Undeterred at the behind the scenes drama unfolding to his defunct power source, Ben grabbed his acoustic guitar and leapt from the stage to wander through the straw bale amphitheatre full of folks! His journey through the audience was very much appreciated, whether you heard much or not – it was the gesture that counted – the punters should not be let down. Technical let down it may have been, but not a musical one. Ben is a young gun rising on the blues/rock scene, but from this show of professionalism he played on and carried the audience with him. On stage fellow band members patiently waited. Once power was back, Ben and band played a slightly reduced, but nevertheless resoundingly-good programme from his repertoire. Much cheering ensued from a grateful audience when they left the stage. Ben and the band showed just what troupers they are.

Larry Miller Band. Having taken last year’s Sunday afternoon audience and organisers by stormforce rocking blues, Larry was invited back to perform again but programmed late evening. Larry and the LMB devotees were in for a thunderous good rocking time, though they can also take it down a level or two and surprise you with a slow burner of a blues song. Larry’s ascent to top festivals here and abroad was not a meteoric rise, but a steady, hard, sure-footed climb. I can recall seeing him in the Reckless Engineer (Bristol) some fifteen years ago. The pub was packed and many a Bristol musician showed up that night as, like me, they had heard talk of this guitar slinger making a name for himself on the biker scene and a few pubs and clubs around the M4 corridor. Well he’s served his apprenticeship and has emerged a flying-withhonours veteran, fully decorated (and dressed to kill, no prisoners taken) rocking blues hero. The likes of Hendrix, Gallagher, Moore feature in loud long salvos from Larry’s brilliant guitar work, but his own material can level you equally as well. This he did to the delight of all present on that now-cooling, cloudy descent into night. His band: Derek White, wonderful bass that was cannoning off Larry’s lead riffs and stage interaction, along with wonderful drums creating a Gattling gun rattling beat, and handy worked keyboards, with a touch of a lighter metal, all joined forces with LM and made a fantastic festival show even better. I was amongst many wondering why he wasn’t headlining. saturday

The Union. They may have been voted best new band 2009 having formed from the Thunder fallout, and had three very well received albums, but for me I was still shell shocked from LMB and decided five numbers into their set to retire to my tent and lick my wounds (soak my dance wearied feet in hot soapy water). From there I could hear The Union and the cheers from their many loyal followers. After the exuberance of LMB they sounded rocky, but not exciting enough to get me back into battle fatigues, rifle re-loaded and bayonet fixed – no, if I was to fight another day at this festival it would be tomorrow!

Nat Martin Band. It’s difficult being the first band on at any festival, but even as an unknown, to me and some others they proved themselves with a great sound selection of soulful blues. They had sent their CD to the Linton Committee and impressed them. The crowd that afternoon were impressed as well with fine guitar work and vocals loud and clear. Their keyboard player laid down some fine funky jazz-laden music, and the rhythm section kept everything afloat and on time. A cracking little band and a nice intro to a full day’s festival line-up.

Mitch Laddie Band. What a great outfit this turned out to be! Mitch has been influenced, nurtured and championed by Walter Trout no less! It is so good to see and hear his protégées as an assurance that his thundering good rocking blues are taken up and built upon by the next generation of bands. Mitch and the band impressed the audience and had us dancing. They in turn appeared to be enjoying every moment too.

Connie Lush and Blues

Shouter. It’s been a while since I last saw Connie and the lads and so it was a pleasant job to get out on the dance floor and boogie on down to this classy Liverpool lassie with endearing hot-fired vocals, and an astounding lead guitarist backed up by a tight, stupendous rhythm section. What more is there left to say? This is their second visit to Linton and justifiably so. Always a crowd puller and pleaser and festival stalwart is our Connie and the boys.

Nimmo Brothers. Lovely to see them back together again and exciting the audience into feverish dance reaction. To say they could do no wrong is an understatement. They ran through a tremendous programme of mostly their own material that thrilled to excess.

Eugene ‘Hideaway’ Bridges

EHB is yet another festival stalwart and second time appearance here at Linton. Eugene is a larger than life figure in all senses of the word; large with mighty powerful vocals to match, and guitar playing that is sublime! One minute you are all bopping and rocking around, then he strikes a blue bent note and slows down a pace and you’re rooted to the spot in awe of a heart wrenching slow, moody, thoughtprovoking song that IS the BLUES! When he asked Steve Nimmo to join him it erupted into a storming friendly guitar duel. Awesome! When it was all done he left the stage to rapturous applause and cheering, deservingly so! Eugene finished off the set and there was no doubt you’d just been delivered some of the best Blues to be had!

The Idle Hands. They are the best unsigned rock band in the UK, so the publicity says. That could well be true as they impressed many old fans there in the audience and by the time they had finished their set quite a few new ones. They are a popular gigging band and have a stream of good mentions in the rock press. I saw them at Colne last year for the first time and they seem to have been everywhere else since. Good luck to them. Long may they rock – and if you buy enough of their CDs their lead singer may be able to buy some shoes! They are a good fun Rock’n’Blues outfit enjoying themselves and pulling good crowds. Can’t be bad.

Sandie Thom. What came next was somewhat of a disappointment to me – I and it seems others with me were expecting an electric set from Sandi Thom and her band, but it was an acoustic set from an all seated band and so those who were not in the front rows, stage wise, could not see a thing, and yes, the opening harmonica and first few songs sounded promising, but I’m afraid to say not what you need at this stage of proceedings! After the jubilation and tour de force of Eugene this slowed the programme down. People around me spoke of how nice a voice Sandi has but said they needed the momentum to be kept going and perhaps catch a glimpse of the band a little more animated, as, alas, an acoustic moment such as this failed to meet up with expectations. I will go catch her with her band and see how their electric set shapes up.

Ruby Turner Band. This band finished the evening off in fine soulful bluesy style for everyone. She has matured into a great singer of international standing in her own right as well as with the Jools Holland Band. I can remember her as a fine lady of soul fronting her own band at The Kings Hotel in my home town, Newport, some years back, when she still had her day job in an office! She was a powerful vocal force then, and even greater now, and her repertoire has expanded since coming under the influence of Holland, and other notable musicians she has performed with. This evening she was just as sensational and took the audience by storm, despite a few hiccups with the sound! Having got that sorted and put to rest, she went on to give a belter of a set and had everyone dancing and singing along to the last dying hours of Saturday night. It was a grand finale to the day’s proceedings.

Sunday

Laurence Jones Band. The day started with an extraordinary band that had everyone talking before and post performance. And, what is more, the first standing ovation I have witnessed for a debut act at Linton! This young outfit drew much admiration from the punters by giving us an awesome, non-stop, high-octane hour or so, of souldrenched rocking good blues. Much of their programme was drawn from their new CD Thunder in the Sky, and I have no doubt sales of this album did well afterwards. Watch out for this young gun and his bunch of bluesters. Their version of Dylan’s [via Hendrix] All Along the Watch Tower was impeccable, and their own songs stood up well to the classic numbers within the set list. Just as Ben Poole won hearts and minds over on the Friday by shear guts determination and pure professionalism, so too did Laurence and his crew. Both bands should go on to much greater things in the future. I’ll be following them in earnest over the coming years.

Grainne Duffy Band. Now here’s a young gutsy lady with a voice to match and also talented guitar work to boot! She and her band are joined at the hip, and gel so well they make a formidable group of musicians with that ‘must see them again’ factor for the audience. Grainne’s voice has often been likened to that of Bonnie Raitt, and again with that of Rory Block. It’s been some time since I heard Block live, but had only seen Bonnie a week or two before and yes, she’s like her, but her skilful and subtle craft is her own and gives a beautiful uplift at times to well-chosen blues anthems in the set list.

Her band are all excellent and given show time, where they each flourish and perform to perfection. They are riding a British and international blues festival high these days and long may it continue. People around me talk of her version of I’d Rather Go Blind as second only to Etta James. Here I must reserve judgement as I have, over the years, heard many fine renditions of this all time classic and I don’t like to put anyone’s version above others, as I find circumstances have great bearing on emotions as well as time and place, but having said that, Grainne’s version was divine and compelling listening.

Band of Friends. If I just said ‘I danced myself into oblivion’, or just ‘Wow what a band!’ you may know what I meant, but that doesn’t do true justice to the three members of this fantastic band, who sang, played and wove a magical rousing Rory Gallagher ‘happening’ in a field at the back of a country pub in the idyllic bucolic County of Herefordshire one summer evening. The county road signs say HEREFORD and underneath the first four letters (HERE) they put YOU CAN! Well, Band of Friends did! And what’s more, so did the whole of Linton. It was getting dark, the stage lighting was on and a cool breeze picked up – just as well, as the whole field was awash with people dancing, singing and having a mighty fine time. Gerry McAvoy and Ted McKenna (rhythm section) played like demons possessed, whilst young Marcel Scherpenzeel delivered a potent mix of RG songs, runs ,riffs and guitar solos with an edge as Gerry and Ted never let him play religious note for note RG, but create an aura that is the essence of RG but never an absolute. This makes it all the more exciting, interesting and enjoyable. This performance was my Linton Festival 2013 favourite.

Hayseed Dixie. Well I seemed to have missed seeing these guys for ever until now! Thank God I did catch them, as I thoroughly enjoyed their off the wall humour, tongue in cheek asides and non politically correct political comments! Their parody of Queens’ Bohemian Rhapsody and Motorhead’s Ace of Spades , along with the likes of Alien Abduction etcetera, they proved to be a good laugh as well as demonstrating extremely talented and accomplished musicianship. Four men of varying hirsute appearance beguiled us with their chosen ditties (often dirty, whoopee!)

All the while they impressed with outstanding instrumental virtuosity. I swear I heard feint strains of Hobart Smith and old timey rap as well some Scruggs and Flatt in foggy mountain breakdown mode in there, and perhaps a Bill Munro hoe-down refrain here and there. Lastly there was a definite airing reminiscent of Ralph Rinzler there somewhere. Great Stuff! Vocals too were magnificent and their wonderful harmonious output put me in mind of an old vinyl album of mine by The Greenbriar Boys. A wonderful ending to another Linton festival.

Once again Linton did us proud. From humble beginnings they have built up a spectacular programme of artists appearing each year, improved on site facilities, raised monies for local charities, remained calm and professional through difficult times and as a result have given us ‘A great Little Festival’, one not to be missed!

KaZ haWKins strand arts Centre, BelFast auGust 31st. 2013

Kaz Hawkins emerged on the Belfast blues scene a few years back fronting a trio who rejoiced in the name Mama Kaz (a somewhat lame pun playing on her supposed physical resemblance to The Mamas and The Papas singer Mama Cass), and playing heavy blues rock.Her decision to dissolve that band seemed bizarre as the band’s popularity was growing apace.

But, now trading as a solo artist, backed by a quartet and two backing vocalists, it transpires that Hawkins knew what she was doing for, launching her new incarnation, she blew the audience away with her soulful, intense and expressive singing of a repertoire almost entirely comprising outstanding original compositions. Hawkins’ songs are typically inspired by her dramatic life experiences which have included cocaine addiction and having her children taken into care, followed by rehabilitation and having her children returned to her.

Lipstick And Cocaine , for example, was a harrowing ballad on which Hawkins reflected on her addiction and her victory over it; Drink With The Devil was about a diabolical, hard-drinking boyfriend; and she introduced Colliding Into One as a song ‘about the past,’ adding, ‘I’ll never be ashamed about my past’. The one cover was of the standard Feeling Good, which was sung with tremendous authority and sensitivity.

Hawkins has largely moved away from blues into singersongwriter territory but her charisma and exuberance are irresistible and the gig ended with a standing ovation and Hawkins, overwhelmed, in tears. In support acoustic guitarist Joby Fox, a serious-minded singer-songwriter, performed songs, including Republican & Loyalist , which were often dismayed reflections on the Troubles. Belfast, once an Irish hit for his band Energy Orchard, suggested his ambivalence towards the city. Two short films were also shown: the atmospheric Lost Commandos , directed by Joby Fox and Sophie Rasmussen, was enigmatic but seemed to be about terrorists giving up their campaigns; the avowedly inspirational Believe – the theme of the evening – was directed by James Rea Jr. and featured talking heads, including Hawkins, reflecting on success, failure and regrets.

treVor hoDGett

ZoE sChWarZ BLuE CoMMotion

reGent theatre, ChristChurCh september 13th 2013

On a wet Friday 13th evening and on the day Christchurch was announced as the latest annexe to God’s waiting room, the Dorset town clearly needed cheering up. Step up Zoe and Blue Commotion for the launch of their new CD The Blues Don’t Scare Me . Dressed in a spangly top, Zoe was in great form from the opening Something’s Got A Hold On Me

You soon realise how Zoe’s voice blends in with her tight band, as if she’s another instrument in the band. She feels each emotion that’s felt in the songs, placing it firmly in the audience’s lap. Having mentioned the band, have to give them a heads up too.

Husband/guitarist Rob Koral is what I call a steady ‘old school’ player. By that I mean no histrionics or posing during solos, he also acts as a splendid musical director. Keyboard player Pete Whittaker quietly gets on with his job, again outstandingly. Bassist Bas Terraz debuted with the band tonight and laid down some great lines, having a brilliant understanding with drummer Paul Robinson (Nina Simone’s touring band member for many years) not forgetting the comedian of the band, Si Granero on harmonica and backing vocals. Just Another Day and The Blues

Don’t Scare Me both from the new album, released amazing live energy and passion, further exposing the songs for what they are, pure quality of self-composed material.The Koral/Schwarz composition Too Darn Rich To Be Happy deserves special mention for its boogie style and the solos from Koral, Grenaro and Whittaker. The format remained the same, through to the mid-way closer, Anthony Newley’s Feeling Good, time for a well-earned break! There was a soulful start to the second half with Take Me Back and Lucifer Is Blue , before a heartfelt rendition of Lowell Fulson’s Reconsider Baby , the

royaL southErn BrothErhood the Cluny, newCastle

september 21st 2013

The Cluny is sardine-tight tonight and it’s hot! Before the headliners come on, road-crew strategically place fluffy towels about the stage. And that is the only thing fluffy about tonight in a charged atmosphere of anticipation.

First local power trio The Mitch Laddie Band are back a week after recording a live album here. This is blues-rock, all effect pedals and crescendo and incredibly loud! Explosive solo followed solo as the band played numbers from their Burning Bridges CD. They went down a storm, all be it, with a largely partisan crowd who revelled in the pyrotechnic guitar excess.

Royal Southern Brotherhood move onto the stage; heavy-set Yonrico Scott settles behind his kit, tall lankhaired Charlie Wooten straps on his bass. Guitarists Mike Zito and Devon Allman saddle-up. A broad soloing having a real late night feel to it. Next up was Buck , written by Andy Stroud (Nina Simone’s one time husband), giving centre stage to Si’s rapping skills (yes, you read that right!) , a real show stopper. Two more originals, Say It Isn’t So and the slow blues of We’ll Find A Way preceded the Willie Dixon classic Don’t Judge A Book By Looking At The Cover , what a way to bow out. The encore Come Home Sweet Baby , triggered a mini-rap, Grenaro continuing his rapport with the audience. Speaking of which, they loved it! There is a lot that some young pretenders can learn from this band. My final observation would be; is Skegness ready for Si Grenaro?

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‘Geordie’ voice shouts ‘Is it warm enough for you’s’, which is lost in translation, and centre stage behind his percussion set-up is Cyril Neville. In red-checked shirt, preacher-black hat covering a blood red bandana he looks like a voodoo shaman. Hopping from foot to foot it could be bones he’s using to beat the tom-toms!

UK tour first date – the Shaman speaks; ‘Spread the word, use Facebook Spacebook, tell your friends ‘bout Royal Southern Brotherhood’. Then, as an afterthought, adds ‘But don’t say nuthin’ to nobody if you don’t like it!’

Someone must have liked it because the room gets even fuller as they launch into Hurts My Heart, a full-on slice of Southern rock. Allman takes up lead while Zito handles vocals and the Shaman closes his eyes hitting a groove with backing vocals and percussion. On other numbers

Neville takes lead vocals moving between soulful sweet and timeworn gravel throat, both equally

GErry JaBLonsKi & thE ELECtriC Band the

Voodoo rooms, edinBurGh september 27th 2013.

With drummer Dave Innes’ diagnosis with stomach cancer in the sprin,g the last six months has been a troubling time for the band. However any concerns that their live performances might be dampened were put to bed very early with an excellent evening of entertainment. A good crowd was in attendance as openers Main Street Blues performed a varied set combining both classic and more contemporary blues. With a new line-up featuring the twin guitars of Simon Brett and founder Derek Smith, the Mike Zito penned Change Your Ways was a notable highlight. Anticipation was fine and emotive.

Their self-titled CD. has been reviewed extensively, and the songs are even better live. As an ensemble group the three front men share vocals while Scott and Yonrico are a powerhouse, steady and solid behind, providing a wall for the guitarists to paint shapes. This is shown to best effect in the twin guitar interplay on numbers such as Fire On The Mountain. Cyril takes vocals and tom-toms with Mike using slide and Devon vamping a reggae rhythm. The solo here strays into a Jessica melody, nearly tipping into a Freebird romp, before giving way to stinging high notes from a Devon solo. Then the guys plunge back in – hitting a groove with more counterpoint guitar work.

Just Keep It Real was an opportunity to introduce the band before the stage was left to Yonrico and Charlie and a bass solo of epic proportions. They encored with Gimme Shelter leaving the crowd wanting more.

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growing, particularly when Jablonski appeared on the stage to begin the unaccompanied introduction to Sherry Dee; and erupted when he was joined by Innes, Peter Narojczyk and Grigor Leslie. The hard hitting introduction continued with Hard To Make A Living which saw Narojczyk step onto a table for an extended harp solo. With recordings for their new album Twist of Fate being worked around bouts of chemotherapy for Innes, no one would have complained with an unchanged set from that of their last appearance in April. However there were several outings from the new release, including The Preacher with a superb soaring guitar tone. By contrast the title track was a poignant moment of introspection. Likewise there was the welcome return of a personal favourite, Black Rain while another oldie Blues Power recalled Fleetwood Mac at their bluesy best. While the drum solo had wisely been dropped, Innes’ drumming was precise and to use the cliché, he didn’t miss a beat. The show climaxed with dancing throughout Slave To The Rhythm , with Jablonski at his demonstrative best. Alas, the overzealous soundman switched off the PA at the stroke of 11 o’clock, but, undeterred, the band performed an unplugged closing encore of Hard Times to round off a superb show. With Innes progressing well, hopefully times will come easier for the band in the future.

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JoE BonaMassa motorPoint arena, CardiFF september 18th 2013

Cardiff welcomed an old friend back to the Motorpoint, and a rapport was cemented from the off as Joe welcomed his loyal fans with a simple ‘Noswaith dda’ (Good Evening in Welsh).

Tonight we saw the contrasting

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aLBuM LaunCh the GiBson rooms, london september 12th 2013

I felt very privileged to be representing Blues Matters! at this invitation only, ‘secret gig’ by The Temperance Movement at the UK offices of Gibson Guitars in London’s West End. It was the official album launch and the 100 or so guests gathered in the first floor playing area were treated to a short but full blooded performance by the band. There was no holding back as Phil Campbell and the boys worked up a sweat on the core of the album that, less than a week later, would enter the UK album charts at number 12. A remarkable achievement for a debut album from a blues-based rock band in these days of safe pop and X Factor.

But then these are a remarkable band. Phil Campbell possesses a voice tailor-made for this type of music, able to hit high notes and rasp with equal emotion, every lyric made believable. The twin guitars of founder members Luke Potashnick and Paul Sayer weave and interplay together beautifully, never overplayed, always lean and cutting edge. Nick Fyffe on bass, one time Jamiroquai member, holds everything down rock solid, allowing Aussie madman, Damon Wilson to pound the drums like a modern day Keith Moon.

What really sets these apart though, as well as looking great, and being superb musicians is that they have excellent songs. I’ve been lucky enough to have seen them live a few times now and there’s never any filler, no covers just masterful versions of the tracks on the album.

Rockers, anthems, ballads, they are all there, all wonderfully blues tinged. I can’t recommend this band highly enough, catch them if you can live, and check out the album, I’m sure you won’t be disappointed.

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styles of Acoustic and Electric Joe. There was no thunderous opener of furious guitar licks; tonight it was Joe alone with his acoustic for the first number. He was then joined for the rest of the twenty minute acoustic segment by Tal Bergman on African Drums and Derek Sherinian; but I do wonder if acoustic really is Joe’s forte? His guitar playing stripped down, but still at a fast and furious rate, and lacking fluidity and passion normally so evident, combined with Joe’s voice which is not really strong enough for this blues format. That said he did create an amazing atmosphere and had the fans on the edge of their seats waiting for the full Bonamassa electric blast, and he delivered their every wish following a quick change of guitars.

Joe throughout the rest of the evening was full of confidence, demonstrating his skills on every guitar he chose including his twin necked, creating a full and different tone from each of the options. As ever, his backing band was awesome, filling in the spaces, adding colour and texture so that the stadium rang out with Bonamassa Blues.

Everyone had a favourite track they wanted to hear, Joe tried to please with a range of tracks from the bluesy, Who’s Been Talking , he then tipped his hat to the late Gary Moore with a great version of Midnight Blues, full of emotion and stylish guitar playing on his Les Paul. Django was played superbly and another crowd pleaser as every track he played raised the temperature in the building! All too soon he left the stage, but the fans wanted more and the encore delivered a superb rendition of a Bonamassa signature cover, Sloe Gin , that had the crowds purring with delight. Tonight, the near capacity audience sat at the shrine of their hero.

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Boy dan oWEn the saGe Gateshead november 16th 2013

The Sage is one of the most spectacular buildings you will ever go to too listen to live music. Having magnificent views from the glass fronted vista, looking out onto the Tyne and Newcastle. When you enter it has the feel of a cathedral with its twin stairs leading to the two main halls where performances take place. This performance is in Hall 2 which is a stage in the round. Tonight unusually the whole venue is seated right up to the front of the stage, where normally the venue has a standing area.

Opening the evening is Dan Owen who in my opinion is a real emerging talent and we will see and hear much more of him in the next year. His performance is filled with heartfelt emotion and grips you from the beginning. Starting with Ships, which got to number onein the ITunes Blues chart. His

set list of Forget Me When I’m

Gone , Hammer , which was written about an old work colleague who died last year. Beauty in Disaster , which is one of my favourites, after which he threw in a new song Polkadot Dresses . All of which are self penned and extremely well delivered and well received by the audience who warmed to his music and self effacing charm between songs. His finale was a Bob Dylan number Hollis Brown , which brought tumultuous applause from an audience most of who had never even heard of Dan before he took to the stage. He genuinely won over the crowd.

Tamikrest blew in via a sandstorm from the desert to enthral us with their Desert Blues. They are a new wave of Tuareg musicians with lyrics dealing with a youth without future, loss of culture and love of life. Their performance weaved a picture of desert life using hypnotic drum beats, alongside guitars producing an intoxicating rhythm drawing the audience to join them clapping in time. New World music is clearly popular and this venue was near capacity. An excellent evening of high class entertainment from both acts. Make sure you get out to catch both of these acts live, there is nothing better than live music, keep live music live.

Christine Moore