Review & Photography by Manny Manson for MPM
Beaux Gris Gris, Pronounced “Bo Gree Gree”, gave the collective who ventured out on ‘Hump Day’ a night to remember as they watched and enjoyed a group of 5 talented musicians play a 2 1/4hr set consisting of 23 songs.
When I was asked to cover this band, I have to confess to being unfamiliar with their work. I’d heard of Robin Davey, the guitarist, through his earlier work with the band ‘The Hoax’ although I’d never seen them play live either, however, his reputation as a ‘player’ is well renowned, having been inducted into the UK Blues Hall of Fame as its youngest inductee.
So having got there early, there is no pit so I need to nab a front row place, I park up, the car ‘farts’ its ‘I’m locked sound’, and has a group of young lads laughing, as I head off, around the corner to the venue. Its less than a minute away, as I round the corner, it’s great to see a queue has already formed and as I join it more, quickly, follow on.
We get inside earlier than advertised on the website which is always good and I set up camp front and centre. I’m soon joined by other like-minded early doors live music fans, and as is the way we get chatting. The couple to my right have travelled from Stockport, and are good friends with both Robin and Greta. I pump them for information as you do, Google doesn’t offer a lot of valuable insider goodies, so anything is useful.
For those who haven’t ever frequented the Musician, it’s a great back street venue, looking for all the world like a house but once inside , it’s Tardis like interior stretches into the future! The low stage is, shall we say ‘compact’ being about as wide as my lounge, 12ft, with a striped, circus style painted ceiling, and tonight, it is chock full of gear.
The three microphone stands across the front have roses and faery lights wrapped about them. Infront of the 2 outer stands are pedal boards, stage right is the more complex so we know where Robin will be standing. There is a Nord 5 keyboard and an accordion offset in the middle and the drum kit sat at the back in front of a Beux Gris Gris backdrop which actually covers the Musicians wall logo. On stage left the wall art of various famous personages look on, an intimidating Johnny Cash spends the night looking over Robin’s right shoulder.
The band venture out, a little after what I’m told was the set start time, not that it matters. The venue has further filled up, so there is a great vibe about the place. As they take up their instruments there’s’ a growing excitement and as the cheers and whistle die down the set kicks off with ‘Trouble Is Coming’ from Good Times End Times released back in 2022.

This instantly irons out the bugs and the band are soon settled into delivering a supreme set. Greta’s voice is as every bit as good as what I was listening to in the car on the way in. Her striking blue hair moving freely as she works ‘it’! the heavily compressed guitar and repetitive drum groove giving a haunting edge to this opener. The guitar lick is thick with layers of compression, distortion, and fuzz, the ingredients to the recipe are on show on Robins pedal board.

‘Thrill Me’ has the crowd singing along to this banger from 2019’s album ‘Love and Murder’. A steady drum groove beats out as the band retune. Greta starts off the repeated Thrill Me line, and the crowd take over and sing out loud. The filthy guitar strikes up, there’s a ‘Doo-Wop’ feel to the guitar as it shimmers reminding me of the band ‘The Temples’ and their distinctive 50’s doo-wop TV soundtrack style anthems. The compressed solo quickly moves us away from that vibe though, and thoughts of the Addams family and the Munster’s disappear.

The drum lick is slammin’, I love a drummer who is in the pocket, Tom Rasulo is there despite having broken his hand previously, playing basketball ( I overheard him telling some fans in the crowd earlier on ). The ‘scat’ style guitar licks continue as the kick drum continues to slams out. Guitarist Robin has moved to the edge of the stage as he unleashes his inner rockstar, and as he does so, someone’s phone goes off to which the crowd pounce as you can imagine. Robin pulls a smiling WTF face but continues with his single-handed pull offs, his guitar placed firmly on his hip. The crowd are keen to join in with the DE rigour hand clapping, as the song builds to its climax.

‘Gris Gris’, is another one from the Good Times End Times album, and quickly follows on without a pause. It’s a bouncy number and has the crowd on their toes. Sam Robertson, his long blonde locks flowing, tickles the ivories in an extended keyboard interlude, Greta is on her knees in front of the keyboard enjoying the moment before coming to the front dancing and singing, once again the crowd join in with the fun of this upbeat song from 2022.

We now get the first song from the new album, A driving number called ‘Middle Of the Night’. The new album is out on the 3rd May, although you can get a cd copy of it at the merch stand, the vinyl being held back until May. The crazy guitar tone, I’m informed, is described as an ‘Evolution of Accidents’ by the aforementioned Dave. Next up, ‘Sad When I’m Dancing’, is introduced by Greta who says “Robin Never Wants To Dance With Me”, they are husband and wife, this comment is greeted with sarcastic ‘boos’ from the crowd. As the song plays out Robin and Greta have a moment together whilst the guitar soars with its tamed but destructive buzzsaw tone.
The couple I’d been speaking to early doors are mentioned next, Greta and Robin had stopped with them in January, when the new album was being mixed, they got a listen to an early mix. Greta tells us its ‘Dave’s’ birthday, to which the venue sing happy birthday to him. She continues that apparently Dave likes this song so after hearing it in January, ‘The Runaway’ is dedicated to him. The crowd is respectfully quiet as this gentle song plays out softly, the keyboard interlude breaks the song up.
The guitar, a big sound that features, dominantly, in all the songs, is subtle in its delivery. Robin is controlling the assault, like they say less is often more, however the guitar faces are there, good man, every guitarist has to have a guitar face even if the lack of front lighting and cowboy hat, hides it when he comes forward. We are now fully into the new album track list as this one dies in a flourish of flamin’ guitar and cheers from the partisan crowd.

‘Don’t Let Go’ continues with a steady stick count in. The guitar riff sounds like it should be familiar as it gallops along. Greta’s voice is clearly on point as she delivers a faultless vocal. She bounces along, her blue hair dancing to this tune which is full of walking drum groove back beat. Another track that goes down well with everyone.
With a quick detune of guitars we head off into ‘Louisiana Good Ride’ from Love and Murder (2019). Another song that showcase’s the couple’s song-writing and Robin’s stunning guitar work. There are phrases that remind me of Laurence Jones in the playing out of this songs solo, this is segued by a keys interlude, during which Robins guitar riff seems to nod to that familiar tune from 1962; Green Onions, (An instrumental by Booker T and the MG’s) as he plays along to Sam’s tinker ling on the Nord. The song finishes with a flurry of drums to great applause from the knowledgeable crowd.

Another new one continues the set, ‘I Told My baby’ from Hot Nostalgia Radio. This has a do-wop drum groove with the scathing guitar slicing through it. Tall Stephen Mildwater is dancing back and forth, his red glasses and flat cap, giving a Northern, Captain Sensible look. The unfinished tattoo, tattoo on his arm brings a smile to my face as this likeable character locks into the back beat helping to drive this one forward.
There’s a bit of a swop round with the set as Greta asks if they can take it down so they have somewhere to go. Sam Robertson, on keys, quickly takes the lead with a smooth keyboard intro to ‘Baby Baby’ from Love and Murder. The rest of the band stand back as Greta, both hands clutching the microphone, softly sings this gentle ballad. Robin, arms resting on his guitar looks on admiringly, as do the crowd as you could hear a pin drop. Even the chatterboxes behind me have silenced themselves out of respect. This was the first song that Greta wrote on the acoustic guitar. She says she waited 20 years to play the song live, and carries on with saying that she was just waiting for the right band. As the band now re-join the song, the chatting returns, no matter the crowd are singing along helping to drown out the ignorant few. It once again finishes to huge applause and cheers.

Robin takes a moment and thanks everyone for coming, he also plugs the new album, someone in the crowd randomly asks if they’re at Long ride this year, a short chat about festivals ensues before Greta mentions Marie at the back of the venue on merch, with her fringe, Greta adds that the next song was written for her. Simply called ‘Marie’, it once again, features on the new album. It’s a steady number with a gentler guitar sound. A slight change to what’s gone before but, equally, goes down well with the fans. Another jumble with the set as the next one we’re told, was meant to be the acoustic one, Stephen mentions a jazz break and Sam, on keys, quickly obliges.

There are cheers from the crowd as ‘Harder to breathe’ sees Greta strap into a strange contraption which position’s a light over her head, a bit like the donkey being teased by a carrot ( sorry for the analogy Greta ). She goes on to mention that the last one was probably thrown out by Robins dad. This mark two version has a removable battery driven light instead of having to plug it in as of old. As the song plays out and Greta gets her groove on and the thing swings about wildly, from where I’m standing at the back it looks like it’s going to clock her one, thankfully it didn’t.

‘Penny Paid Rockstar’ is up next and once again, it’s from the new album, but not before a quick mention about the band being mainly American, Greta saying the Robin is a halfie as he now lives in America. He chirps up that he adds the better half, Greta quickly points out he’s wearing cowboy boots and hat, and was mistaken for a local in Texas recently. She quickly adds that she was going to introduce the band but the drums kick in and we’re off into Rockstar. The pulsing drums push this one along as Greta’s stunning voice purrs gently, the keys swirling around her vocal. There is a distinct lack of raucous guitar as this one finishes.

Greta now introduces this as the Americana/ Country section of the night. ‘Let’s Ride’ swells along as the keys fill the gaps left by the military drum beat, thudding bass and that accidental guitar sound fill the venue like a tsunami. The song is regimented in its delivery, the simple guitar provides a gritty edginess as Greta builds the vocal on this marching anthem to a climax. The claps from the crowd approve of this one. Another new one follows and we’re told it includes an Accordion as it’s got Cajun influences. Keyboard player, Sam Robertson explains that he had free accordion lessons when he was eleven that turned out not to be free after all.

The accordion is then likened to a Gremlin as it seems to have a life all of its own. Greta reminds us that’s she’s from Louisiana and this one, ‘Mama Cray’, is about her family. Its proper toe tapping stuff, heads are nodding and a couple are dancing along. It’s a happy, buoyant tune, again it has a familiarity about it that’s endearing to the fans. It’s also another genre covered by the band successfully. Sam rips the solo out on the squeezebox (can we call it that?), it encourages more hand clapping from the partisan crowd, and, as it repeats, it brings to mind the episodes of the Walton’s barn dancing.

We now get asked if we’re ready for it to be taken up again, “Hell Yeah” is the obvious reply. To which a dirty, dark, gritty riff strikes out and we’re into ‘Wild Woman’, yet another off the new one. The drums are slammed hard as Greta’s voice sounds like it should be sung through a ribbon mic. The frayed guitar is stomping all over this one, as the crowd join in with the clapping, adding to the percussive edge. Cheers are randomly erupting as the sustained guitar note ends with Stephen, the bass player, holding his right hand high, over-head, for effect.

‘Satisfy Queen’ continues the fast pace as we continue to gallop headlong. The claps are encouraged by Mr bass player, Stephen, as the buzzsaw sounding guitar jousts with the ride bell for attention. The chorus once again has the crowd singing, cheering and fast hand clapping along. Robin lets loose a fast flurry of fast fingers on his red D’Angelico guitar, and the crowd continue to sing about satisfying their Queen. Greta supplies the repeated Whoah’s, as Robin is down in the dirty end of his guitar, the compressed note seemingly likely to ‘stall’, they seem that ‘tight’. With a couple of taps on Robins shoulder from Greta, it sees the solo end and the song then builds to another crescendo before ending, This is obviously followed by huge cheers of appreciation from the crowd.

Greta uses this segway to mention that Tom is drumming with a broken hand, as mentioned earlier, until Robin interjects, he’s having technical issues, he says, after studying his guitar, he adds that its bridge pick up has unscrewed itself making it only possible to play the solo with five strings, Greta quickly quips in with “Stephen can play a solo with only 4 strings” which garners much merriment and the banter ensues. At which point Tom shouts out “Take this my broken hand” and rattles off the tom tom groove intro to ‘Fill Me Up’ from the Good Times End Times album. As soon as the “fill me up” part is reached the crowd are on it joining in making this a naughty lyric, the smiles on their collective, naughty faces are from ear to ear. Once again, the fast hand claps resume before Robin is out front once again, squeezing the life out of his guitar, the solo is shared with Sam on keys as they back and forth, again some of the licks used are nods to old favourites, or so it would seem.

As this one finishes, we roll straight into yet another one from the new album, entitled ‘Oh Yeah’ which the crowd are happy to join. Robin’s solo is another of pure filth, while he’s rocking out Greta is cuddling a Panda soft toy, another present from Sue and Dave to go with the earlier squirrel. Banter follows about Panda’s and how messed up they are. Robin, it seems, is addicted to watching Pandas fall out of trees, and off mountains, etc.

let’s do another song says Robin, it’s pointed out it’s the last one, which doesn’t go down to well. Greta says “we always end with it”, “we were going to start with it but decided not to”. There’s a quick discussion about how people found out about the band. And then we’re back to chatting about Panda costumes and coffin pool floats. Getting back to the song, we’re reminded that it’s a sing along, the song is ‘What’s My Name’ from Love and Murder and over the years it has become a fan favourite, when the title hook is sung the crowd respond “Oh La La Beaux Gris Gris” (pronounced Bo Gree Gree) Again, with me pointing out similarities, the solo seems to have an Allman Brothers vibe mixed in there, which is great by me.
This guitar solo is ‘excuse me’d’ by Sam rearranging the keys on his Nord keyboard, before we get a drum fill or two as Tom and Stephen, on bass, take their turn to throw in a groove or two. With repeated call and returns from the crowd, Greta shouts “one more time” and the song is brought to a finish amidst hand claps and swirling keys. Another fun song and one the crowd seem to get fully behind.

As the final song dies, the calls for more start, Greta has quickly nipped of the stage only to return as the crowd start up the Beaux Gris Gris chant once more. On her reappearance she asks if the crowd are as sweaty as she is, this isn’t surprising as she has not kept still all night.
The encore starts off with ‘When My Baby was Rich’ another from 2019’s Love and Murder. The breakdown is a playoff between guitar and honky tonk keyboards. But as Greta joins back in, Robin takes over with another of his distorted, filthy solos, before Greta re-joins intime to sing the outro.
Another from the same album follows, ‘Don’t Let the Bastards Grind You Down’, a slower number but has the crowd shouting the title out with glee when its required. There is another likeness here, and that’s to The Damn Truth and Lee-La’s vocal delivery. Another thumbs up of a song from me, as yet again that buzzsaw of a guitar howls into life. Robins playing is really top notch. Some of the ways he frets the neck reminds me of my mate Ken, who passed just over a year ago, Ken would have loved this show, this is right up his street, he was a formidable Blues guitarist in his own right.

Before finishing for the night there is, once again, another mention of the merch, its over by the bar we’re told, the pre-order scheme for the new album on vinyl is mentioned before Robin says let’s do one more. And so, the show finishes with a cover, Greta asks for it to be heavier than last night, the opening night of the tour, at which point Robin’s nasty guitar rips into the opening of Marc Bolan and T-Rex’s ‘20th Century Boy’. The ideal song for his trademark sound.
The crowd join in with some of the singing, but most are light in their loafers as they groove along to this, the closing song of the night, as it totally rocks out and finishes a stunning night of great music and musicianship. As most humble bands do, the guys and Greta are soon out amongst the fans chatting and having photos taken. Enjoying the moment before having to pack up and set out North of the boarder to Bannerman’s in Edinburgh for night 3.
So, I took a dive away from covering the harder rock and metal to watch a blues band with style and subtlety, and what a night, a 2 ¼ hrs set, 23 songs, each one a crowd pleaser, it doesn’t get any better. If you like a great voice, banter coupled with superb musicianship and song writing then give these ago, £15 on the door is an absolute steal!