Review by Gary Spiller for MPM
Ahead of a busy summer of touring across a good-sized percentage of Europe – from Sweden to Romania and a good few points in between – New Yorker Sari Schorr and her band are getting warmed up with a slew of UK dates. Beginning at the renown Derby venue The Flowerpot this insanely talented quartet have zig-zagged their way up, across and back down our isle to wind up here on the northern fringes of Wales’ capital city at the well-appointed Acapela Studio.
When the opportunity arose to cover the personal levels of anticipation and expectation both, equally, rose. Although a frequent touring entity upon this side of the Atlantic our paths, somehow, haven’t crossed since this Stateside blues rock sensation had blown the roof at Sheffield’s O2 Academy back in 2018. It was fully evident from just that one snapshot this ever so humble performer had raw blues coursing through her veins; with an off the scale musical chemistry between her guitarist Ash Wilson to boot we had noted this prodigious despatch as “one to watch” immediately post-set.
Whilst there’s been 2020’s live recording plus ‘Joyful Sky’ with Robin Trower a couple of years back it’s been fully seven years since Sari has released any new material of her own. However, there’s nearly a full, as yet untitled, album’s worth of tracks ready to go. It’s most apparent that Sari holds the UK audience in high affection as she informs that this set of dates is being utilised to bed the tracks in. “We’re not playing these tracks outside of the UK until the autumn” she notes furthering “You good folks gave us our first opportunity, we’re so grateful for this.”
The band assemble, ahead of the first set, with no fuss and with a quick thumbs up they’re underway pathing the way for Sari. The drums of Phil Wilson and bass of Chris Cliff entwine and rumble whilst Ash Wilson’s Les Paul drones ‘right outta the badlands’ ahead of Sari’s onstage arrival. With her broad infectious smile, she applauds the Acapela audience with a sincerity rare within the music industry. Opening with deliciously arenaceous rocker ‘Thunder’ the spinetingling gravelly tones engage. The unassuming front-lady points to her right for Ash’s blistering powered solo that veers off in the direction signed AOR.
The quadrumvirate segue seamlessly into the swaggering blues of ‘Keep On Hiding’ with its sweltering, chopping rhythms coupled with incisive, precise back vocals. Sari’s granular notes dovetail neatly with the svelte, genteel blues of ‘Rolling Stone’ before we’re introduced to ‘Where Have Your Been My Friend?’ or ‘Where’s Your Bin’ as per the setlist. With its soulful 60’s infused spirit brought right into the 21st century the track wrestles emotively with losing oneself and the process of picking up the pieces and re-evaluating. Evidently a number that means a lot on a personal level, Sari, at track-end, steps back from the mic – smiling as ever – mouths a silent “thankyou” and holds her heart.
Switching to an acoustic six-string from his side-stage arsenal of guitars Ash brings in the foot stomping ‘Coal Brothers’. Its rootsy freight train blues rock tells of the Appalachian mountains coal miners and their generational struggles and challenges; a resonance that surges loudly here on the southern fringes of the South Wales coalfield. The heartfelt road trip blues of ‘On My Way Back Home’ embrace warmly with Sari’s towering vocals illuminating brightly.
Although introducing ‘Highway 69’ Sari’s three musical cohorts stick to the setlist and strike up the introductory notes of ‘Have You Ever Loved Somebody’. Chuckling as faux pas is swiftly noted Sari dives into the track’s steamy sultry blues. At the track-end she enquires “Anyone want to hear a track called ‘Highway 69’?” before quipping “I think it’s coming next!” The stripped back black-top inspired hard rocking guzzles gasoline with the intensity of a beer drinking hustle and all is good with the world for a moment.
Channelling an inner Tina Turner ‘Hometown Girl’ bulldozes along with a 12-bar urgency that the likes of Chuck Berry and Status Quo would no doubt approve of. There’s a distinct notable upsurge in a rockier direction with a lot of the new material and the highway energies of ‘Since You’ve Been Gone’, that closes the opening set, is no exception. There’s a cheek glint in Sari’s eyes as she sings “I’ve spent your money”, its infectious character darts about rapidly. There’s a whole pile of promise for this forthcoming release and one I shall be awaiting with much expectancy.
Readying themselves for the second set of the evening an errant guitar lead is espied, “Is there a manual for that?” enquires Sari of the six-stringing Ash. Plugging in, and sharing a personal humorous moment, he replies “I’ve got manuals for everything else I own!” Capable of lighting up the darkest of rooms the uplifting and engaging ‘New Revolution’ commences the second set. Seductive and crepuscular in equal amounts ‘Oklahoma’ follows building up seismically with Cliff’s funky bass interludes quaking.
Spellbinding across the board ‘Letting Go’ does precisely that whilst a rousing ‘Freedom’ flicks the spotlight back to 2018’s ‘A Force of Nature’. Recorded with Robin Trower (Procul Harum) ‘Joyful Sky’ is affectionate, emotive blues personified. Sari’s high-octane vocals entwine so naturally around Ash’s smoking fretwork; a constant them throughout. ‘Cat and Mouse’ features a jam session in which Sari slips side stage, ‘limbo-ing’ under Cliff’s bass in the process. The three naturally shine but nobody was betting upon anything else.
The high kinetics of ‘Demolition Man’ rock to the core with Ash and Sari cosying up mid-track. With the gentlest of touches the vocalist touches the guitarist, in respectful appreciation, upon his left shoulder. With Ash’s ethereal guitaring bringing in a heavily reworked version of ‘Black Betty’ I’m transported back to Sheffield and that hugely impactful performance of which this track was one of several highlights. Seven years on and Sari’s interpretation still raises bumps of the goosekind.
Screaming at the heavens ‘Valentina’ rounds the evening off with its head-nodding, spirited tempo. The new album is announced for a tentative autumn release and there’s much to look forward to in the coming months including slots at Love Rocks and Maid of Stone festivals. For me personally, Sari rides upon the same high plains that the likes of Beth Hart, Sam Fish and Joanne Shaw Taylor rightfully inhabit. If there’s any justice in this industry, then this most humble and sincere of musicians will be packing out larger venues before too long.
Photography by Kelly Spiller for MPM
