Sunday, June 24, 2018

Rob Tognoni - Voodoo Rooms, Edinburgh, 22 June 2018

I’m just getting myself a beer in the bar when Rob Tognoni comes onstage, but still manage to latch onto his modus operandi pretty damn quickly, as he and his trio crash into a spiky riff, soon accompanied by a catalogue of sparky guitar licks, leading up to a high-powered wah wah solo.  Oh yeah, there are some vocals in there too, delivered in a kinda tuneful, enthusiastic bark, and the overall package is enough to get the crowd on side from the git go.
Now, I’m not going to pretend that I know Rob Tognoni’s canon backwards.  The Australian has been on the go for a long time, and has a catalogue of albums stretching back to the mid-90s, but I only came across him for the first time last year.  So I vaguely recognise ‘Birra For Lira’, the title track from his 2015 album, which features another squawking solo, but for much of the set all bets are off.
Rob Tognoni and Gaz Rackham - lean on me
Never mind, by the time he gets stuck into another stomper from his 1995 album Headstrong, it’s clear that with his impish grin that this is a guy who enjoys his work.  Given his Australian provenance it’s easy to say that there’s an air of old-fashioned hard rock a la AC/DC to his sound, but ‘Bad Girl’ does fit that bill, with its sledgehammer riff and drummer Mike Hellier doing his best impression of Phil Rudd on-the-money timekeeping.  And while Tognoni – aka the Tasmanian Devil – doesn’t don fancy dress, he’s still a showman, of the arm-flourishing, lip-pursing, hip-wiggling (yes, hip-wiggling), machine gun soloing variety.
Bassist Gaz Rackham – who could be cast as the cousin of Eric Stoltz in Pulp Fiction – seems permanently amused by his gaffer’s antics, whether of the shape-throwing or the plank-spanking variety.  But with his 5 string bass he and Hellier make up a rock solid but supple boiler room on the likes of ‘Drink Jack Boogie’, a Johnny Winter-ish affair that’s one of the highlights of the night, with a decidedly bluesy intro from Tognoni, and the more subtle title track from his Tognoni’s latest album Brave, with its offbeat rhythm.
They close the first of two sets with a jam on ‘Dark Angel’, building from a slow bass’n’drums intro to feature crunching riffs and fluid licks, and some impressive pickless soloing from the Tog, even if his nod to ‘Toccata and Fugue’ is a bit naff.
The second half kicks in interesting fashion, as some slow funky blues develops into something that may or may not be called ‘One More Hit’, and which feels like the Stones taking a walk on the wild side with Lou Reed, semi-spoken vocal and all, but with Tognoni then getting excited enough to be play with his teeth, get down on his knees, and embark on some windmill armed, toreador-like guitar heroism.
It’s all a bit endearingly daft, but he does demonstrating good taste by then covering Rory Gallagher’s ‘Shadow Play’.  It’s a great tune of course, and though RT isn’t Rory he doesn’t let the side down. In fact by now I’m forcibly reminded of Larry Miller, another meat-and-potatoes hard blues-rockin’ geezer and Rory fan who is great fun.
The R’n’B groove of ‘Mr John Lee’ (as in Hooker), is swingingly good to the point that plenty of asses are being shook in the audience, and a reading of ‘Baby Please Don’t Go’ is like a Tour de France descent in top gear, with suitably brisk drum and bass solos and ‘Let There Be Rock’ style dynamics.
Andrew Robert Eustace - rollin' down down the Delta
They close with ‘Hey Joe’, which features some unsatisfyingly noodling guitar to these ears, though the Togster does conjure up some decent low volume weeping guitar effects, followed by more energetic guitar wrangling, and a sturdy rocker of an encore sends the crowd away happy.
In the support slot Glasgow’s Andrew Robert Eustace and his band deliver an entertaining set of Delta orientated electric blues.  Eustace is a tall and genial sorta guy, effectively gruff line on the vocal front and satisfyingly useful in the guitar department.  ‘Can’t Wait To See That’ is a decent Mississippi stomp, with two guitars rollin’ an’ tumblin’ around the riff and a scrabbling solo.  But the following ‘Broke Down And Beat’ is a highlight, a chunky shuffle with an appealing groove topped off with a good hook in the chorus.  ‘Bad Weather Blues’ is a strutting, upbeat 12 bar, with a fiery solo from Eustace as the band stoke the engines for a crescendo that should really develop into something bigger.
Things get a bit samey as the set progresses, even though they relax a bit as the songs go by, and the lyrics of ‘Running Man’, confessing to killing a man, feel a bit inauthentic.  ‘Crooked Old Dog’ rattles along nicely though, with its semi-Celtic guitar riff and a hint of stop-time rhythm, and ‘Had Enough’ slithers down the Delta nicely on a jittery riff.  They could do with developing a bit more rhythmic variety – a Bo Diddley beat might be a useful avenue to explore – but Eustace and chums seem to have a clear sense of the sound they’re after, and the man himself injects some personality both vocally and on guitar. 

Wednesday, June 13, 2018

Paul Rodgers - Free Spirit: Celebrating The Music Of Free

I was too young to ever see Free play live in their heyday.  So my eyes lit up at the announcement of Paul Rodgers’ Free Spirit tour last year – but sadly I couldn’t make it to any of the shows.  Judging by this 16 song recording of the Royal Albert Hall gig, I missed out big time.
Apart from anything else, this set has been impeccably recorded.  Whether the acoustics of the Albert Hall contribute to that at all I don’t know, but right from the bright opening number ‘Little Bit Of Love’ the drum sound is crisp, and the guitar and piano are mingled effectively.  Paul Rodgers’ voice is also clear as a bell, and by the following ‘Ride A Pony’ it’s evident –
Paul Rodgers - the spirit is willing, and the flesh is able
as if there were any doubt – that his pipes are still in excellent condition.  Where some of his vocal contemporaries are struggling in their later years, Rodgers is still a powerhouse whose reach is undiminished.  What’s more, as they get down to business on the gritty ‘Woman’ it’s apparent that he’s still the master of melisma, stretching syllables over several notes, and of wordless, “whoa-oh” articulation of soul.  In fact in this mode the influence of soul giants like Otis Redding is so obvious that the labelling of Free as a blues rock outfit seems a bit lazy - soul rock would be more accurate.
Rodgers is backed here by Deborah Bonham’s band, and if living up to the reputations of Paul Kossoff, Simon Kirke and Andy Fraser is a big challenge they seem to relish it. Guitarist Pete Bullick delivers a piercing solo on ‘Be My Friend’ that captures the depth of feeling well – and evidently pleases the crowd – and as the song progresses Gerard ‘G’ Louis’s piano backing emerges nicely.
They ease off with ‘My Brother Jake’, although revving it up a bit towards the end as Bullick’s guitar fizzes and sparks, and continue in a lighter vein with the roomy simplicity of ‘Love You So’, with Rodgers colouring in the margins around the melody. ‘Travellin’ In Style’ is a sunny affair, with the audience warming up their tonsils for subsequent exertions, before ‘Magic Ship’ marks a shift in terrain with its mystical feel, the piano intro carrying some Celtic undertones before the rhythm section kicks in.
Thereafter they get into the more muscular kind of groove that really does suggest blues rock.  ‘Mr Big’ has a tense play-off between the guitar and Rich Newman’s drums, before Ian Rowley is showcased on bass, evoking Andy Fraser’s rubber band sound.  ‘The Stealer’ has a mean strut, and another good solo from Bullick, while ‘Fire And Water’ has a soulful, rock steady straightforwardness. ‘The Hunter’ is brisk, and down and dirty, and then it’s party time on ‘Alright Now’, where Newman appears to dial up the beats per minute a fraction, giving it a fresh, zippier feel as the crowd sing themselves hoars.
Then they crunch into ‘Wishing Well’ and that classic descending riff, again powered along nicely by Newman’s drumming towards those wonderful lines, “Put up a fight you believe to be right / And someday the sun will shine through”.  The audience can still be heard singing along in the background, and I suspect there were smiles galore as they bathed in the warm glow of a trip down memory lane.
For me the album peaks there, with the following ‘Walk In My Shadow’ and ‘Catch A Train’ exhalations to end the night, even though both are tough enough, the former with its big riff and some squealing feedback, while Bullick essays some very Koss-like guitar on the latter – a song never actually played live by Free.
The album is titled Free Spirit: Celebrating The Music Of Free, and there’s certainly an air of celebration about it – even of a nostalgic love-in.  And why not?  It’s a strong body of work to celebrate, to say the least, and with Paul Rodgers’ voice well to the fore the spirit is alive and well.

Free Spirit is released by Quarto Valley Records on 22 June 2018, in various formats including 2 disc CD/DVD including tour booklet.

Sunday, June 3, 2018

Big Boy Bloater & The LiMiTs - Pills

If you’re in the market for a blast of aggressive but witty R’n’B, then look no further.  As English as cod and chips, Big Boy Bloater majors on the kind of collision between Chicago R’n’B and Chuck Berry rock’n’roll evident in both early Stones and the Feelgoods.  His 2016 outing Luxury Hobo showed him throwing his own twists into that mix, and Pills repeats the trick.
The title track, with its ascending guitar figure, rocking bass from Steven Oates, and Bloater’s typical gargled-with-broken-glass-this-morning vocals, kicks off a hat-trick of tracks in this vein.  ‘Friday Night’s Alright For Drinking’ may be a bit vin ordinaire in places, but the chorus has plenty of fizz, and in addition to Big Boy’s pinging slide licks it benefits from
Big Boy Bloater - naturally charming
some classy female harmonies that provide extra oomph.  ‘The Saturday Night Desperation Shuffle’ is the real winner though.  A ‘Ballroom Blitz’-like drum rhythm from Matt Cowley sets the tempo, matched by fast-striding bass from Oates, over which the Bloat lays an urgent guitar riff, and a spiky solo.  And while he may not carry the air of menace that Lee’n’Wilko conjured up, he does offer a wry line in observational lyrics.
Pub rock, we’re often reminded by those who were there, wasn’t a sound or a scene, it was just rock music being played in a bunch of London pubs by a variety of different bands. It’s striking though, that when Bloater departs from the forceful R’n’B template, he’s liable to come up with the bobbing Anglo-Country that is ‘Stop Stringing Me Along’, a tale of relationship failure with acoustic strumming and ooh-oohing female backing vocals, that recalls another pub rocker, Nick Lowe.
‘Oops Sorry’ is a bit of lightweight rock’n’roll that’s also in Lowe territory, both musically and lyrically.  A whimsical tale of heartbreak that extols the merits of Gaffa tape and super glue, it features chiming piano and a Latino guitar solo.  And just to round out the pub rock comparisons, ‘Slacker’s Paradise’ is a skipping effort initially redolent of Graham Parker, and a witty vision of consummate idleness with perfectly matched laid back accompaniment.
The back end of the album may contain some efforts that don’t quite hit the bullseye, like the ultimately inconsequential ‘Mouse Organ’, with its inflections of European jazziness, or the closing ‘A Life Full Of Debt’, a melancholy tale of consumerism based on ukulele strumming.  And while ‘The Digital Number Of The Beast’ is a humorous take on “the rise of the machines”, pinging out some musical binary code, it lacks the focus on display elsewhere.
But hey, there’s still room for the quintessentially Bloaterist ‘Unnaturally Charming’, a spooky B-Movie yarn about a young man whose easy charm masks a dangerous misfit, with swirls of fairground organ in the background, jagged guitar counterpointed by more female backing vox, and closing out with a repeated, Dan Auerbach-like guitar lick.
Big Boy Bloater ain’t no teenage guitar hero.  He’s not trying to make some clever crossover into another market.  His act is founded on down to earth elements of rock’n’rollin’ directness, delivered with wit and imagination.  He takes some basic R’n’B virtues, and turns them into something as fresh as a mug of whelks.  Go get a fork and dig in.

Pills is released by Mascot Label Group on 15 June.
Big Boy Bloater tours Britain in September and October - details here.

Tuesday, May 29, 2018

Future Juke preview - A Festival of 21st Century Blues

There’s this Future Juke Festival coming up at a handful of venues in London in the next week, in case you hadn’t noticed.  So I thought I’d pitch in with some thoughts on a few of the acts I’ve tripped over previously.  Well why not?

Eli “Paperboy” Reed could well be one of the highlights of the week at the 100 Club on 4 June, judging by the urgent, sometimes gospel-inflected, Sixties-style soul of his 2016 album My Way Home.  If Samantha Fish took Detroit R’n’B mini-epics of love and rejection, and re-tooled them for the 21stcentury on her album Chills & Fever, Reed’s style is a
Eli "Paperboy" Reed up close and personal
throwback to the old days, with a reverb-drenched production where you can practically hear scratches on 45rpm vinyl.
The energy levels are intense on the likes of ‘Cut Ya Down’, but he also pulls off sweetly Sam Cooke-ish soul on both ‘Tomorrow’s Not Promised’ and the title track, with its gospel choir like backing vocals.  It’s worth bearing in mind that in addition to spending a year or so imbibing the blues in Clarksdale, Bostonian Reed played organ and piano in a Chicago church alongside noted soul singer Mitty Collier, so he knows his onions, and it’s apparent here.
‘The Strangest Thing’ is a rock’n’rollin’ affair, while ‘A Few More Days’ has a dash of funk with its cocky guitar riffing.  And throughout it all Reed delivers vocals that are raw and convincing, with controlled melisma – and it’s not all boy/girl, moon/June soul subject matter by the way.
There are people who rave about the soul of our own James Hunter Six, but frankly they’re smooth operaters compared to Reed’s fervent reawakening of the Sixties.

One of the other main events is the outing at Dingwall’s on 1 June by Californian Grammy Award winner Fantastic Negrito, and you can find a review of his upcoming third record Please Don’t Be Dead here – with links to coverage of his two previous efforts.  But he’s also supported by British trio Miraculous Mule, so what are they all about?
Well, I’m not yet acquainted with their latest album Two Tonne Testimony.  But back in 2015 I came across their back-to-basics reading of ‘In My Time Of Dying’ on a covermount tribute CD to Physical Graffiti produced by Mojo magazine. On the strength of that I got hold of a couple of their albums, Blues Uzi and Deep Fried, which showed them offering a few
Miraculous Mule get spiritual
different modes of bluesiness.
First and foremost perhaps, they have a penchant for traditional spirituals and folk songs of the kind you might expect from Blind Boys Of Alabama, but often with a British sensibility that’s sometimes modern and edgy, sometimes dead straight. So they do a delightful version of ‘Wayfaring Stranger’ that sounds like it’s straight out of the British Blues Boom by someone like The Animals.
Or there’s their minimalist take on the 19thcentury hymn ‘I Know I’ve Been Changed’ – also recorded by Aaron Neville – where the lead vocal is backed by little more than low key guitar and choral backing voices, with sporadic handclaps – a template they exploit more than a little.  But they might also produce something like ‘Satisfied’, with its guitar buzzing like a jarful of wasps behind the favoured device of a hypnotically repetitive, work song-like vocal refrain.
Then again, stuff like ‘Highway Song’ offers a blissed-out wah-wah trip that’s all Swinging Sixties London, whether in the hands of envelope-pushing Brits or Hendrix, who’s also echoed in the ‘Crosstown Traffic’ style riffing they bring to the gospel of ‘I’m A Soldier’ (aka 'Soldier For Jesus', a song often played to great effect by electric blues icon Joe Louis Walker). Or in another vein altogether you might get some country blues with clanking percussion a la Lincoln Durham, as on ‘Blues Uzi’.

On 31 May Brighton’s Mudlow are part of a three-part bill at The Islington. Their retrospective collection Waiting For The Tide To Rise opens with ‘Down In The Snow’, which features a guttural, ‘Peter Gunn’ style riff accompanied by swelling horns, gruff barked
vocals and a down to earth guitar solo from Tobias Mudlow, and a tasteful trumpet break.  But for the most part it’s a three-piece affair, with a few interjections of harp and horns.
Sometimes this means down to earth grunginess on the likes of ‘Drunken Turkey’, with the howling vocals sounding like a herniated Screaming Jay Hawkins, or a North Mississippi vibe on ‘So Long Lee’ with its rolling guitar line.  Often is dark, contemplative Americana, maybe haunting as on ‘The Jester’ with its twanging, spaced out guitar notes and tickled piano. Some of this, to be honest, can start to seem a bit earnest and sombre, though Tobias does turn his hand to a good Tom Waits-like vocal along the way.
Personally I like them best on the likes of ‘Stubb’s Yard’, which has a jaunty Delta simplicity to it that’s redolent of Frank Frost and Sam Carr.  Or on ‘Codename: Toad’, which has an air of Feelgood but more primitive – although they take their foot off the pedal a bit, rather than ramming it home in the way Wilko, Lee and co would have done.  Hopefully they’ll give stuff like this a bit more welly live.

But what do I know? There are other acts out there during Future Juke, billed as a Festival of 21stCentury blues.  Go see, go hear!



Monday, May 28, 2018

Rev. Sekou featuring Luther and Cody Dickinson - In Times Like These

The cover of In Times Like These, by Rev. Sekou, tells you a lot. A sharp dressed black dude wearing a three-piece whistle and a trilby with the brim pulled down over his eyes is walking along between two railway tracks, an acoustic guitar grasped in his mitt by the neck.  That’ll be the Reverend, I’m thinking.  And underneath the title it says ‘Feat. Luther And Cody Dickinson’.  Now, contributions by the North Mississippi Allstar brothers may not be a guarantee of quality, but they’re a pretty good recommendation.
And when it gets going with opening track ‘Resist’, it sounds like they’re onto a good one.  A
Like I said, whipping up a storm live.
civil rights sermon-style call to arms gives way to a hot-gospelling slice of soul, with organ, piano and horns, underpins an anthemic chorus of ‘We want freedom and we want it now’, with Luther Dickinson adding a few fills along the way.  You get the picture?
The way the title track barrels along is a reminder that Ray Charles built his soul sound on church music, with the Rev hollering away in fine fashion about the need for a miracle, but reflecting that ‘Ain’t nobody gonna save us, we’re the ones we’re waiting for’.
I imagine that the Reverend Osaguefo Uhuru Sekou can whip up quite a storm performing this stuff live, and there’s plenty of passion on display as the album progresses.  But he’s articulate with it too, with his liner notes about ‘The Task of the Artist in the Time of Monsters’ underlining the urgency of the lyrics.
The playing is top quality too, as you might expect with the Dickinsons on board.  I might have suggested that Luther Dickinson was doing sterling work on slide, but evidently he has some serious competition here from lap steel whizz AJ Ghent.  In any event there’s sublime playing decorating the likes of ‘Muddy And Rough’ and the jazzed-up gospel evident in the second half of ‘The Devil Finds Work’, with more rousing horns and Hammond B3 from former Al Green sideman Rev. Charles Hodges.
Things flag a little towards the end, with a couple of songs like the ‘Problems’ that melodically are more R Kelly than Ray Charles, but that’s enlivened by the rootsy playing, and in particular by some zinging guitar which I suspect is Dickinson’s handiwork.
Rev. Sekou is a guy with blues in his veins, but more than that he has a message, and boy does he want to get it across.

Rev. Sekou plays at the Black Deer Festival in Sussex on 23 June.

Sunday, May 27, 2018

Here Comes The Sun - Blues Enthused meets Austin Gold

It's not so much an interview as a conversational concoction, really.   Austin Gold are a band who've been getting some attention in the 'New Wave of Classic Rock' space that's opening up, since the release of their debut album Before Dark Clouds last year. It’s the morning after the night before, when they delivered a set supporting King King at the Whitley Bay Playhouse that drew a roar of approval from a full house, and now the band members gradually assemble for a chat after scoffing their fry-up breakfasts in the Beefeater on the seafront.
Rhythm guitarist Jack Cable is first to turn up and park himself across the table, and gets the ball rolling by explaining how the band originated in two separate outfits back in 2014, playing at a blues night in the North Street Bar in their hometown of Peterborough.
Austin Gold - no getting away from Dave Smith's Beatles influences
“Dave put together a band,” he says, referring to lead guitarist and singer Dave Smith, “and another friend of ours Dan Collins put together a band.  Chris Ogden, our drummer, and myself were in Dan Collins’ band – I was playing bass, and Dan Collins was on guitar.  And in Dave’s band there was Dave and our keyboard player Russ Hill, along with another couple of musicians, and they were called Red Wine Blues. Dave decided that he was really enjoying it, but he wanted an extra guitar – so he asked me.  So I was in both bands, playing bass in one and guitar in the other. Then Dan decided he didn’t want to do it any more, but Dave was really getting into it.  He said, ‘I think I could write some tunes for this, I think it could really work.’  Then our drummer left, and the obvious choice was Chris.  Eventually our bass player left as well, and we knew of Lee Churchill from things he’d done before with groups of friends.  And then we’ve just kind of gone on from there, with Dave writing some songs and us doing more and more of our own stuff.
 “It’s kind of the natural progression that everyone goes through,” he says of their development, “where you start feathering in the odd original, around blues covers.  And then the blues covers seem to fade away a little bit, and the covers become a little more choice.  So some of our favourite things to play now are Wings, like ‘Maybe I’m Amazed’, and we do Python Lee Jackson’s ‘In A Broken Dream’ – that, I think, is my favourite cover to do.”
Along the way, he adds, their current monicker came into being.
“The name came about because we felt we had out grown our original name which was Red Wine Blues. Obviously we aren't really doing blues covers anymore. Dave has an old Rocktron guitar pedal called Austin Gold and we thought the name suited us quite well so we went with it.”

Now the interesting thing for me is that this evolution away from blues covers has resulted in a distinctive, more melodic sound.  So where has that come from, I wonder.
“Well, Dave’s the songwriter,” Cable says. “Dave will come in with what we call the nucleus of a song, so anything to do with lyrics or melody lines is all Dave.  That’s him all day long.  So he’ll bring a song to the band, and we’ll play through it, and within a couple of hours we’ll have all written our own parts around what Dave’s doing.
Austin Gold go for a monochrome look
“But the influences are stretched quite far and wide,” he goes on, “because every member of the band has a different musical background.  In age there’s quite a broad spectrum there as well.  Our drummer Chris is 25, and our keyboard player Russ is 50.  Just 50,” he emphasises.  “So there’s quite a gap. Russ is a huge Marillion fan, and Deep Purple and things like that.  And Dave was born in the 70s, and his dad really pushed him down the Beatles, Eagles, David Bowie road, that kind of stuff.  Lee, our bass player, is much more hard rock based.  The previous band he was in was called The More I See, which was heavier – the original guitarist was in The Prodigy, so you can imagine it was quite heavy stuff.  And then I actually come from a producer’s background so I’m listening more for interesting sounds than I am for killer guitar licks.  Which is maybe why mine and Dave’s guitar playing works so well together.”
It’s a point well made, I think, by a couple of trilling guitar lines Cable delivers on ‘Roadside’ and ‘See The Light’ that counterpoint the main riff.  Before seeing them live I’d been convinced I was hearing a synthesizer, but it turns out to be the way Cable conjures an unusual tone with the aid of a fuzz box.  But sometimes a key contribution is not to play something, it seems. 
“Part of the ethos of the band has always been space, give each other space.  Because there’s five of us, it’s hard to all be heard unless you give each other space.  So that’s the kind of players we all want to be, is humble in our approach.  So if Dave’s playing something that’s full on, and got lots of movement, lots of playing, then I don’t need to.  There are even big parts in songs that we have where I’m not playing at all!  Do I care? No, why would I?  It’s serving the song.  It’s a bit of a clichéd thing to say, but it’s true.”
Serving the song is a sentiment that’s music to my ears, as it were.  I wish that more people did it.  Cable reckons in their case it’s a function of Dave Smith’s writing style.
“I think because of the way Dave writes melody lines, not just vocally but also for solos, he’s sort of putting himself in a situation where he has to play the solo pretty much how it is on the record, because the guitar solos are almost as memorable as the chorus lines.  And Dave loves a big hook, and that’s what it’s all about. He likes a big chorus.”
The end result is a sound that doesn’t make for simple comparisons.  Listening to their album Before Dark Clouds I’ve often asked myself who they remind me of, and not found easy answers.  Luke Morley of Thunder’s ‘other band’ The Union sometimes springs to mind, and going backaways even the likes of UFO.  But the band that Austin Gold sound most like is – well, Austin Gold. And they don’t fit the typical blues rock template.
“No,” Cable agrees. “It’s hard to put a label on what we actually are!
“Melodic hard rock?” I suggest.
“There you go – I like that.”

As the rest of the band roll in and join us, the conversation turns to the previous night, and the surprise they got coming onstage to be greeted by a full house, when they were expecting to find about 50 people in their seats.
“Well when I’ve been to gigs it’s been like that,” says Dave Smith.  “Everyone stays in the
Dave Smith - Seventies rock revivalist
bar, and then when the main act come on they come in.”
“I came out to check about 15 minutes before we went on,” says drummer Chris Ogden, “and it was deadly silent in there.  But yeah it was great, really good.”
So was supporting King King a learning experience?
“I think we’ve learnt loads just in the last day alone,” says Ogden.  “They’re much further on than we are, and seeing how they work, how their show works, is great.”
“One interesting thing,” says Cable, “is that we do gigs down in London, where you have no idea who else is on the bill, and a lot of the time who’s on the bill has nothing to do with what you’re playing, so there’s no inspiration from them. Whereas when you get to do a show with a band like King King, it inspires you to bring your A-game a bit more. I personally thought last night we were on our game, and that was mostly because we felt inspired to go out and do the best we could.”
“And there’s the style of music,” Dave Smith adds.  “We knew we were playing to a type of audience where - we’re not dissimilar to what they do – kind of under the umbrella genre of blues rock, but we knew they’d be at least receptive.”
Cable laughs.
“Except we’re not blues rock any more – we’re melodic hard rock!”
“We’ll have that!” Smith nods.
“That’s what I said,” says Cable.
“But I thought it really worked last night,” says Smith, “and afterwards the boys were really supportive.”
“Yeah they’re great guys,” agrees bassist Lee Churchill.  “They said they really appreciated the show, and were just very normal, down to earth, friendly guys.”
“They were really happy to chat,” adds Ogden, “and take any questions we had.”
“There was a lovely moment when we were all standing at the side of the stage watching their show,” recalls Smith, “and me and Lee were standing there and at some point Alan Nimmo came over to get a drink, and he shook our hands and said ‘Great show lads’” – said with a Nimmo-esque thumbs up and wink – “in the middle of them playing. He’s like ‘Everything alright?’”
“It was funny when we were unloading the van,” says Russ Hill.  “There’s like a big ramp you have to get up.  And Alan obviously looked at me and thought, ‘He’ll need a hand.’  So he pulled me up, like woof – he’s a dead strong fella!”
“He’d obviously seen your advanced age,” says Cable, chancing his arm
“Yeah that’s what I thought,” Hill laughs.  “He thought ‘Here’s the old boy.’”

Since Dave Smith is now in the company, it seems like time to get his take on the band’s sound, given that he’s the main writer.  So what’s inspired him?
“Well, how long have we got?”
“Not long – you’ve got another gig to get to.”
“Okay, to summarise – massive Beatles nut from a kid, ELO, Bowie, Gerry Rafferty –so although we’re more guitar-based, it’s the chord structures I love in that stuff.  We’re really into Bonamassa – we like heavy stuff like the Foos, Audioslave and that.  So it’s a mixture.  We’re getting a tag at the moment of 70s rock revival-ish, and that’s cool – Bad Company, massive Pink Floyd fans as well, and there are some moments where what we do comes over a bit Floyd.  And then we like Tom Petty as well.”
“Cheers!” says Cable, presumably the leading Tom Petty fan in the band.
“Thank you,” nods Smith in acknowledgement.  “So a mixture really, and in terms of the writing it tends to be the music first – sit down with the guitar.  And then that dictates where
Cable and Smith - almost, but not quite, entirely unlike Skynyrd
the lyrics go.  It’s an open-ended question really, I could go on and on!”
“I think one of the best things,” says Ogden, “is we’ve never sat down and had a chat about what genre we want to do.  We just write the song and it goes where it goes.  And then since the album came out we’ve been put in so many different genres.”
“It’s a bit of a double-edged sword that,” Smith suggests.  “Because sometimes it’s like ‘Well what are you?’  People are ambivalent about not knowing the genre. But then, that’s not how we work. There’s a track ‘Home Ain’t Home’, where it’s quite dark, and a Beatles workout, or we do something straight like ‘See The Light’, which is just a straightforward four to the floor – “
“- Americana,” says Cable.
Eh?  Now, of all the styles I might ascribe to Austin Gold, Americana is not one of them.  It turns out what they mean is a hint of Southern rock, suggested by the impressively intertwined guitar face-off Cable and Smith go for on set closer ‘See The Light’.
“Yeah, which isn’t on the album,” says Cable.  “It’s something that at one show in particular I thought – that would be a perfect moment for a little Skynyrd-type guitar thing.  So we talked about it at one rehearsal, and then it’s been in ever since.”
The comparison still tickles me though, because as Skynyrd impersonators I reckon they’d make a very good Wishbone Ash.  Austin Gold are a band whose sound seems to me as British as the North Sea backdrop to the photographs we do before parting company.  In a good way, I should stress.
We finish up with some chat about them recording a new album later in the year, for release in 2019, and forthcoming gigs and festival appearances they have scheduled.  But as Cable says, their immediate future is to get some more support slots like this one with King King, to build their audience on the strength of the current album.  Here’s hoping they get them – they’re a band that deserve to be heard.

Friday, May 25, 2018

Black Cat Bone - Get Your Kicks Sessions EP

With a bottom end that rumbles like thunder coming over the hills, Black Cat Bone certainly make their presence felt on this 5-track EP.  Squalling guitar from Luis Del Castillo, and wailing harp from Ross Craig have to compete to make their presence felt over Kai Wallace’s insistent, nagging drum rhythms and the dirty, fuzzed up bass of Jonny Voodoo (now succeeded by Ewan Mckenna after Linstead left for pastures new).  With Craig adding deep, edgy vocals, it can be a compelling brew.
Ross Craig and Luis Del Castillo get their wail on
‘Morning Light’ sets the tone with a booming, hypnotic drum pattern in the foreground, and ringing guitar in the distance, while high harmonies on the “How-how-howlin’” chorus provide contrast.  The titular ‘Get Your Kicks’ eases off the starting grid with a slow opening verse over spare guitar before the big artillery kicks in to support a rolling, double-tracked riff with an attractive climbing segment, leading up to a final, uptempo assault that features scrabbling guitar from Del Castillo balanced by a harp solo from Craig.
‘Bullet’ combines a driving riff and stuttering rhythm with Craig’s croaking vocal to come across like 'Teenage Kicks' colliding with Motorhead.  After a low-key opening ‘Love My Baby’ echoes ‘Roadhouse Blues’ to the extent that you’ll want to call out ‘Let it roll, let it roll’ over the buzzing rhythm section, while Del Castillo’s scratchy guitar tries to break in through a window to join the action – and now and then succeeds.
Closing track ‘Hip Shake’ takes Slim Harpo’s much covered blues classic and drags it through a proverbial hedge backwards, with fuzzy bass and buzzsaw guitar piling in over a relentless, stomping rhythm worthy of the Glitter Band.  With another chanted chorus, you can almost feel the sweat of a mosh pit as they bring it to an urgent conclusion full of prickly guitar injections and bursts of harp.
Black Cat Bone have a distinctive sound that’s likely to appeal to a younger, more grunge-ready audience.  The challenge for them will be to make sure their deep groove doesn’t become a rut as they go forward.

Wednesday, May 23, 2018

Fantastic Negrito - Please Don't Be Dead

Calling Fantastic Negrito genre-busting may be a bit of an exaggeration, but like Gary Clark Jr and Rag’n’Bone Man he’s one of those artists who’s doing something new by melding elements of old-fashioned blues to beats and rap stylings.  More accurately maybe, bearing in mind his overt interest in politics and social commentary, would be to say he’s following in the tradition of Gil Scott-Heron, who described himself as a “scientist who is concerned with the origin of the blues”. Either way, it’s got Negrito some attention, garnering a Best Contemporary Blues Album Grammy for his 2016 album Last Days Of Oakland.
On new album Please Don’t Be Dead he sets out his stall with ‘Bad Guy Necessity’, utilising
Fantastic Negrito - don't need this fascist groove thang
familiar ingredients to both Oakland and his earlier Fantastic Negrito Deluxe EP.  He growls out a verse with its melodic roots in the cotton fields over a metronomic beat and throbbing bass, until it collides with a modern-day soul chorus and sprinklings of Prince-like falsetto, and restrained guitar work.
‘A Cold November Street’ and ‘The Suit That Won’t Come Off’ have even more rootsy foundations.  With understated organ accompaniment, the former develops a steady, ominous vibe from a low, work song foundation, with hints of the spooky old folk song ‘In The Pines’, which Negrito has covered previously, and adds a brief eruption of drums and guitar. The latter builds on a halting beat and a background field moan, and Negrito adds a pinging guitar break to its meditations on skin colour resulting in “standing on the outside”.
Negrito takes a resilient, hopeful stance though, as on ‘A Letter To Fear’, where a slow, nagging groove underpins the sweetly sung declaration that “Whatever you do to me, I will carry on” in response to imagery of mass shootings at the hands of semi-automatic weapons.
Negrito mixes things up with some other vibes though.  ‘Bullshit Anthem’ dials up the funk enough to make like James Brown, as accompaniment for a simple mantra of “Take that bullshit, turn it into good shit – yeah!”  Both ‘A Boy Named Andrew’ and ‘The Duffler’ exploit anthemic chants that sound more Native than African American, the latter especially punchy as a precursor to more soulful falsetto and wonky organ sounds, ahead of a piercing, all-too-brief guitar solo and a bridge that funks hard.  And current single ‘Plastic Hamburgers’ rocks out with a strutting guitar riff and moments of Zep-like slitheriness as he demands we “break outta these chains that’s pullin’ us down.”
He can do dreamy too, as on the low key ‘Dark Windows’ with its almost Beatle-ish melody, flickers of cello, and restrained guitar fills. ‘Never Give Up’ is simpler still, a one minute interlude on which smooth harmonies celebrate “Walking in sunshine, walking through the city” over the rapped-out title.
Fantastic Negrito – aka Xavier Dphrepaulezz – has come a long way from the hospital bed cover photograph of Please Don’t Be Dead, picturing him after the car crash in 2000 that nearly killed him.  My guess is that, with his Don King-like electro-shock hair and strident social commentary, he can shake this stuff up and deliver on stage too.  But you don’t have to rely on my guesswork – he has a handful of British dates coming up.  Check him out if you can.

Please Don’t Be Dead is released by Cooking Vinyl on 15 June.

Fantastic Negrito’s UK dates are:
24 May -  Night & Day Café, Manchester
30 May – King Tut’s, Glasgow
1 June –  Dingwalls, London (Future Juke Festival)
2 June –  Thekla, Bristol

Saturday, May 19, 2018

Simon McBride Trio - Voodoo Rooms, Edinburgh, 17 May 2018

So here’s a question. You can go see Joe Bonamassa in some arena for a hundred quid, or you can go see Northern Irishman Simon McBride and his trio play about twenty feet from you in a club for a fifth of the price – maybe less.  What do you do?
To my mind it’s a no-brainer.  McBride is a sizzling guitarist and a good singer, has a decent bank of material, and he and his band are brain-crushingly tight.  More than that, they’re engaging in a way that recognises live performance is about more than just rolling out the tunes.
Simon McBride - feeling as well as fret-frying
They get off to a strong start with new song 'Don't Dare', and you get a clear sense of McBride’s oeuvre from their rock solid, driving rendition of Free’s ‘The Stealer’, followed by ‘Heartbreaker’, a rifftastic original in a heavy Bad Company vein.  But ‘You Got A Problem’ underlines the breadth of McBride’s approach, starting off swingingly bluesy but veering into some Billy Whizz guitar work that’s also clever with it.
McBride explains that ‘Go Down Gamblin’’, from his Crossing The Line album, is a Blood Sweat and Tears cover, for which he decided not to go with the original’s tuba solo.  A good call, I think, but it’s a strong song and he makes it his own with some slithering guitar and use of harmonics at the end.
Throughout all of this McBride’s control of his sound is impeccable, and in fact their sound as a whole is big but pristine, as is evident on the slow-starting epic ‘Down To The Wire’, where they make good use of dynamics.  But by the time they get to ‘Down To The River’ it’s not just about McBride producing a stunningly spooky, echo-imbued solo, as it’s prefaced by some banter with bassist and fellow Northern Irishman Dave Marks, who proves to be adept at taking the mick out of his boss for the rest of the night.
Marks isn’t just there as a comic turn though, as ‘Change’ demonstrates.  He adds some slap bass to funky riffing from McBride, before embarking on a bass solo – which, remarkably, is good enough and witty enough to not send me running straight to the bar!  Not to be left out, McBride gets into some funky interplay with him before going all jazzy ahead of an entertaining ‘cutting heads’ episode with Marks that’s wrapped up by McBride
McBride and Marks - rocktastic ribaldry
digging out the riff to ‘Smoke On The Water’.
Drummer Marty McCluskey (from guess where?) also gets a showcase, on ‘Fat Pockets’, which is  similarly well handled – not overlong, and punctuated by brief injections from McBride and Marks.
A new song, ‘Show Me How To Love’, from a new album scheduled for next year, features a staccato verse and a chiming chorus, before they bring the curtain down with the bouncing, shuffling ‘Don’t Be A Fool’, which lends itself naturally to a singalong and sees McBride getting jazzy again before they hit the Stop button.
The encore is heralded by the grinding out of the riff to ‘Iron Man’ as a preamble to them rocking out on ‘Power Of Soul’.  And believe me, when this lot get going they are serious contenders in the Aural Artillery Stakes.
McBride himself says that he’s more of a rock player than a bluesman, but there’s plenty of feeling as well as fleet-fingered fretwork in this show – and there’s a bucketload of fun from the comic double act of McBride and Marks into the bargain.  I'd seen them before, but this was a night when the Simon McBride Trio made plenty of friends, and next time they’re around I’ll be seeing them again – it’ll take a really big name to stop me.

Sunday, May 13, 2018

King King, Austin Gold - Playhouse, Whitley Bay, 11 May 2018

On it.  On it, on it, on it.  King King were totally on the money tonight.
Maybe Alan Nimmo had a premonition.  Coming onstage he looks out at the seated audience before a note has been played and says with a grin, “I hope you lot are gonnae get on your feet tonight.” And like a flash they are, even before he can add, “I cannae be doing with this sitting down shit.”
Next thing they’re off and running with an air-punching rendition of ‘(She Don’t) Gimme No Lovin’’, and anyone sitting down after that would surely have been a masochist.
Alan Nimmo, having an okay night by the look of it.
This was a performance that underlined two things about King King.  One is that they have special gift, one not all bands have, of creating a truly communal experience with their audience.  It’s apparent from that opening, and from the immediate to Nimmo’s quick instruction for them to get their hands clapping on the following ‘Waking Up’, and all the way through to the joyous, celebratory singalong on the encore of ‘Let Love In’.
The second thing is that they’re not standing still, trotting out the same set month after month. Tonight’s show features a new, quiet intro to ‘You Stopped The Rain’ as a precursor to a bit of audience input, though the best bit is the wowser of a solo Nimmo cranks out at the end of the song. Similarly Jonny Dyke produces a delicate new piano intro on ‘Rush Hour’ that fits the song beautifully, and Nimmo prefaces ‘Long Time Running’ with a teasing bit of guitar riffery.
More to the point though, the way all the gears click into place tonight it seems like the false starts, personnel change and anxieties of the last couple of years have now been put to bed.  New material like ‘Broken’ is now fully bedded into the set.  Meanwhile Jonny Dyke on
Just in case you'd forgotten who the lot with the guy in the kilt are.
keys, who according to Nimmo describes himself as “the most irritatingly positive member of the band”, seems entirely at home.  His solo on ‘Long History Of Love’  hits the mark now – for all I know he’s playing exactly the same notes as the last time I heard it in Edinburgh, but tonight it feels like he’s tapping into the emotional core of the song, while Nimmo’s closing solo is as ever doubled in intensity by the interaction with Wayne Proctor’s drumming.  And speaking of Proctor, he powers a bone-crunchingly tight version of ‘Lose Control’.
If Alan Nimmo still has any concerns about the state of his voice then they’re not apparent, as he applies himself to every song with gusto and an often beaming fizzog.  Dyke’s backing vocals with Proctor now sound more grooved in too, and together with Nimmo the two of them deliver the necessary punch to the chorus of ‘Long Time Running’.
The closing pillars of the set hit the bullseye too.  Lindsay Coulson brings the requisite bottom end to the funk party of ‘All My Life’, and the audience do their bit by keeping impressively schtum during Nimmo’s sotto voce solo on ‘Stranger To Love’.
Some reviewers and fans will have you believe that bands routinely deliver triumphantly perfect performances, but the reality is rather different.  Tonight though, the roar of approval that King King got at the end of ‘Let Love In’ told the story.  Whitley Bay was one of those nights.
Support act Austin Gold had done a fine job of warming up the crowd for them mind you,
Dave Smith gets all heartfelt.
whipping things up nicely right from their gutsy opener ‘Roadside’, on which the trilling motif I had assumed from the album to be a synth line turns out to come from guitarist Jack Cable.  They have a good line in ballads, even if now and then, as on ‘Wishing It Away’, it feels like they could learn from King King how to really build intensity.  But they do find another gear on ‘Before Dark Clouds’, the title track of their debut album, and without singer and lead guitarist Dave Smith having to resort to a solo of the blitzkrieg variety either.
They deliver some stuttering funk on ‘Another Kinda Bad’, and if ‘Home Ain’t Home’ shows that they’re not frightened of exercising some restraint, pace-wise, they still crown it with a damn good crescendo.
‘All The Way Down’ is another quality ballad with a heartfelt vocal from Smith,  and with good guitar harmonies mingled with Russell Hill’s keys to boot.  They close by segueing into the relaxed, rollicking, ‘See The Light’, which with its guitar face-off between Smith and Cable could develop into a real powerhouse of a closer.  The Whitley Bay crowd lapped it up.
Austin Gold have a melodic rock sound that’s very much their own.  Oh, you might detect a smidgen of this here, and a smidgen of that there, some old influences, some new.  But ultimately they’ve developed a coherent sound that goes beyond easy comparisons. If you haven’t heard them yet you should get Before Dark Clouds right away, and put that right.

Read the exclusive interview with Austin Gold here.

Thursday, May 10, 2018

Andrew Robert Eustace - Stories

Andrew Robert Eustace ain’t exactly your archetypal blues moniker, is it?  Doesn’t really have the same ring as Blind Arkansas Joe, say.  Never mind, that hasn’t stopped Glasgow-based Eustace from producing an album of original songs that wanders down the Delta and up into the North Mississippi hill country with some conviction.
‘Can’t Wait For To See That’ makes for a positive start, with a gritty, swaying guitar motif over a thudding, metronomic kick drum, and periodic injections of more distorted guitar,
Andrew Robert Eustace racks his brain for that chord shape 
while Eustace’s croaking, growling vocal increasingly brings to mind Cedric Burnside.  The following ‘Broken Down And Beat’ adds a hint of shuffle to the stomp, and if the repetitive, hypnotic riff doesn’t quite capture the North Mississippi sound it’s not far enough.  The ker-chunking drive of ‘The Man’ has an air of one-man blues machine Steve Hill about it, in addition to the aforementioned Burnside, and catches the ear with another swinging, steely guitar solo.
At the other end of the spectrum Eustace conjures up a couple of acoustic outings to be proud of. The unaccompanied ‘Down In This Valley’ is melancholy and impressively spare, and with its convincing, aching vocal it’s the real deal.  Similarly the closing ‘Every Single Day’ drifts along nicely from its languid acoustic intro.  With Eustace’s low, reflective singing it evokes the image of a lone musician in an undecorated, dimly lit room, empty except for maybe an old fan stirring the air in the corner.
Stories has its limitations, to be sure.  That kick drum stomp features too often for my liking.  It works to good effect on the slow groove of ‘Bad Weather Blues’, which displays a good sense of dynamics and a neat layering of guitar lines as it works up to a satisfyingly chunky ending.  It also fits the bill on ‘Free Man’, where it’s the only accompaniment to some vocal lines, interspersed with an appealingly zippy riff, but its use in the middle eight is overdoing it.  And the tasteful Celtic leanings of the harmonised guitar lines on ‘Crooked Old Dog’ deserve something more imaginative to underpin the verse.
The haunting ‘Running Man’ is okay, but doesn’t reach the level of the standout acoustic offerings, and its lyric about having “killed a man and I don’t know how” is at risk of sounding inauthentic.  But hey, Johnny Cash knew squat about shooting a man just to watch him die, so let’s not get too precious.
There’s good musicianship at work here, and some quality songwriting, and if Eustace were to let drummer Michael McGee off the leash a bit it might have even more snap, crackle and pop.  As it is, backed up by McGee, and by Gordon Irvine on rhythm guitar and Craig Davies on bass, Andrew Robert Eustace has done himself justice with Stories. If you like your blues rootsy then have a mosey down the Mississipi – well, the Clyde – and give it a listen.

Thursday, April 26, 2018

Wayward Sons - The Mash House, Edinburgh, 22 April 2018

If you’ve passed this way much before, you may have clocked that when I’m not on the blues beat I’m still partial to a bit of hard rock. It’s what I grew up with, after all. So last weekend took in a premier blues-roots performance from Ian Siegal on Saturday, and this show from rockers Wayward Sons on the Sunday. And if the former was full of heart and soul, Sunday was simply a blast.
Toby Jepson - still kicking up dust
Led by former Little Angels singer Toby Jepson, the Sons carry off the impressive trick of marrying sophisticated classic rock stylings with a rock’n’roll energy rush that evokes anything from Slade to ‘Teenage Kicks’ to the Foo Fighters.  The result is a live set that’s like being slapped in the fizzog by that orange bloke from the old Tango ads.
Catchy tunes abound from album The Ghost Of Yet To Come, ranging from ‘Ghost’ early on to the brooks-no-argument set closer ‘Until The End’.  On ‘Crush’ they knowingly pick up on a phrase and pivot into a rocking rendition of Blondie’s ‘Union City Blues’.  And if there’s a typhoon-like intensity throughout, they also bring a convincing slower groove to ‘Something Wrong’, powered by Phil Martini’s howitzer drumming.  By this time there are outbreaks of air guitar among the already buzzing crowd, and the place is starting to sweat.
And it’s not just the songs that produce this state of affairs.  Wayward Sons are delivery men on a mission.  Jepson is a born front man, preset to the same wavelength as his audience, and looking like Robert Plant’s rather less grizzled nephew.  What’s more, his pipes are still in full rocking order, and he has a more than handy way with witty, real-world lyrics such as that on ‘Be Still’.  At his side, Nic Wastell is a blur of bass-thrusting energy from start to finish, frequently in danger of a head-on collision with ducting paraphernalia at the side of the stage. His rhythm buddy Martini comes on in shades, and completes the cool dude look with a Jeff Beck-ish barnet, but he goes at it hammer and tongs.  Keys man Dave Kemp, it has to be said, is an elusive presence hidden by a
Dave 'Thing' Kemp
speaker stack from where I’m standing, only his disembodied hands visible like Thing from The Addams Family.
Lead guitarist Sam Wood is the baby of the outfit, letting rip and evidently having a ball, but with an occasionally bemused air about him that calls to mind the whale in The Hitch-Hikers Guide To The Galaxy: “Wow, that was a bit of biff, wasn’t it? And a bit rough too.  I think I’ll call it a riff!”  Happily his playing meets with a friendlier reception than the whale though.
They fling in Little Angels’ ‘Kicking Up Dust’ along the way, but are adventurous enough to add some new songs that fit in seamlessly, rather than relying on Jepson’s former glories.  They even encore with new tune ‘Backslide’, before going out in a blaze of screaming Les Paul and an exhalation of the outro from ‘Bohemian Rhapsody’.  Crowd happy, job done.
Filing out with the house lights up, I turn and find myself looking straight into the face of Toby Jepson.  “Not bad,” I say with a smile and a nod.  “Alright?” he grins, with a twinkle in his eye.
Yeah Toby, alright. ‘Nuff said.

Tuesday, April 24, 2018

Ian Siegal - Voodoo Rooms, Edinburgh, 21 April 2018

They really should have played ‘In The Mood’ as an entry tape for this performance, because Ian Siegal was well up for for it – and his band weren’t about to be left behind.
This is the third time I’ve seen Siegal play with his band – alias The Rhythm Chiefs when they’re on their own dime – and if the other occasions were good, tonight is something else. It helps of course, that guitarist Dusty Cigaar is restored to the line-up, after being unavailable back in 2016. Cigaar is a guitar-picker who can sprinkle all kinds of stardust over proceedings, and tonight he’s often to be seen grinning wickedly as he ponders his next trick to complement his boss.
"Okay kid, good solo. But watch this!"  "Wow - great E chord boss!"
They open up in cruise control with the sweetly Americana-styled ‘Won’t Be Your Shotgun Rider’, its a capella interlude moving Siegal to proclaim with a grin that “it sounds like the fucking Eagles up here”.  It’s the start of a four-song stretch drawing on new album All The Rage, during which Siegal cranks out some riveting slide on ‘The Sh*t Hit’, while Cigaar gets into characteristically super-twangy mode for the first time on the withering ‘Ain’t It Great’. On the latter, a caustic jeremiad about the state of the States, Siegal’s relish for an acid lyric ensures that the song thuds into the bullseye.
But all this just seems like limbering up when they get into long-standing favourite ‘I Am The Train’. Cigaar chooses this as the moment to really let rip with a cascade of devastating Duane-Eddy-on-speed licks, and when they swoop seamlessly into an interpolation of ‘Folsom Prison Blues’ the chemistry between him and Siegal is evident.  Hell, between them they even manage to whip that famously wonky ‘Folsom’ guitar solo into shape.  Not content with that, Cigaar then adds buckets of Hispanic sabor to the Tom Russell classic ‘Gallo Del Cielo’.  I do wish the crazy old chicken would pull through one of these times though.
Siegal then gets another bird in his sights with ‘Eagle-Vulture’, all Biblical imagery over a pattering rhythm from drummer Rafael Schwiddessen, to which Siegal adds tense slide on his Telecaster.  
Siegal skips the stage to give The Rhythm Chiefs the chance to display their versatility with an uptempo jazzy blues instrumental, and when he gets back ventures into North Mississippi hill country with a rendition of Cedell Davis’s ‘She’s Got The Devil In Her’, which featured on Buddy Guy’s 2001 album Sweet Tea. Prowling and menacing, it’s a song with a real juke joint vibe – and Siegal chucks in an effortless falsetto passage just to underline his vocal skills.
‘Sailor Town’, from the new album, is an irresistible funky stroll, with bassist Danny Van’t Hoff digging a groove and Schwiddessen deliciously behind the beat to the extent he might arrive next week.  And then with Siegal referencing Little Milton and Sam Moore they teasingly morph it into the riff from some old Atlantic soul classic – ‘Soul Man’ maybe? It just doesn’t get any better than this.
"Er, how does this one go again?"
Except it does, with another staple of Siegal’s repertoire, the Big George Watt classic ‘Take A Walk In The Wilderness’, a song with a transcendent quality that Van Morrison would be proud of.  Tonight Siegal and co take it to a new level of intensity, with Cigaar pulling out a searing, fiery solo.
They come back for an encore with the yearning ‘Sweet Souvenir’, and then with the curfew shot to hell they haul support act the Dawn Brothers onstage for ‘Don’t Do It’, merrily going to town on The Band’s reading of the Marvin Gaye hit, giving it an Allmans spin, and generally pleasing themselves almost as much as the crowd. And as a last word on Ian Siegal’s ability to cross over genres with style and conviction, that takes some beating. Like I said, he was in the mood.
Support for the tour are the aforementioned Dawn Brothers, also featuring Schwidessen in the drum chair, and they deliver an enjoyable set that’s short and to the point.  Or maybe short and to several points, because they meld genres with freedom.  Kicking off with some sunny soul about getting down the road back to California, that blends in four part harmonies and twanging guitar from Bas van Holt, they subsequently offer a slowie that hints at Vintage Trouble.  Then there’s a country ballad affair that lifts off into more vigorous terrain before a rather ragged segue into an organ solo, followed by a West Coast rock’n’roll affair.  And just for good measure they close with ‘Staying Out Late’, a piece of jazzy funk with more guitar twang to the fore.  Their set is a brief but interesting tour of styles, strong on musicianship and encouraging further acquaintance.
First up on a three-part bill is Stirling-based Reece Hillis, last seen by this correspondent supporting Matt Andersen.  He delivers a similar mix of covers and originals tonight, with his trademark intensity.  Hair screening his face, he gives his 12-string acoustic a rare old seeing-to, while singing in a powerful rasping voice, his forehead practically leaning on the mic.  Hillis ain’t kidding when he delivers ‘Whole Lotta Shakin’ Goin’ On’, and he provides a rousing opening to the night that puts the early arrivals in the mood for the fireworks to follow.