Review by Paul Monkhouse for MPM
When Ally Venable asks the audience “Are you ready for me to play the Blues tonight?” few there would have realised just how jaw dropping the rest of the evening would be.
Born twenty-six years ago in the Texas town she still resides in, the award winning singer/guitarist exudes a warmth and politeness that is at times starkly at odds with her playing.
Even though he so tragically passed nine years before she was born, the spirit of the legendary Stevie Ray Vaughn seems to inhabit her every fibre and that home State connection is an undeniable feature in how she coaxes the notes from her Les Paul. She certainly has the chops to switch from rousing boogie to the most plaintive of sighs without seemingly breaking sweat, the transitions seamless and quicksilver smooth.
Photo by Chris Griffiths
Touring to promote this year’s acclaimed ‘Money and Power’ album, Venable is joined by EJ Bedford on bass, keys and backing vocals, along with Isaac Pulido on drums, the trio always exuding the tight but loose feel of the best three-pieces out there.
At this stage of the tour there’s no doubt about the chemistry the outfit have and whether it’s down to a well drilled routine or an almost psychic connection between them, the performance tonight is flawless. Venables herself is a very savvy operator, displaying some great commercial hooks but also focusing on the soul of what she does, the balance perfectly executed and seems to come very naturally to her.
Photo by Phil Honley
The sassy stomp of ‘Brown Liquor’ and the heavy ‘Unbreakable’ are a strong indication early on that the evening is going to be a party, drenched in a soundtrack of big grooves and punchy riffs.
The swaying blues of James Taylor cover ‘Steamroller’ provides a stinging solo from Venable before the fiery swing of ‘Texas Louisiana’ sees Bedford covering the Buddy Guy vocals to great effect in the duet with the guitarist. ‘Broken and Blue’ provides another grandstanding display from the six stringer but this is all done with a delicate touch, the emphasis on the emotion, not the ego as that tightrope walk between pleasure and pain is etched on her face as she digs deep.
As heavy with feeling as this all is, the trio are obviously having a lot of fun up there and the snatch of ‘Alex F’ in the funky ‘Stopper Back Papa’ brings a smile to everyone’s face.
Photo by Phil Honley
Leaning back on her influences again, their take on Hendrix’s ‘Fire’ is pure Stevie Ray Vaughn and Double Trouble, the Texas Blues hip shake and bounce shot through with grit and intent. In fact, this whole section was a testament to her home state, the ZZ Top sexed-up blues of ‘Feel the Sting’ and the elegant SRV cover ‘Lenny’ was extended into ten minutes of sheer, unadulterated bliss.
Another little nod to Messrs Gibbons et al came in the form of Bedford’s fur covered bass for closer ‘Ain’t That a Bitch’, the number driving and funky as they raced to the finish. With a curfew-busting encore of ‘Real Gone’ rocking the Garage, an obviously delighted Venable, Bedford and Pulido took their bows and vowed to be back in London as soon as they could. After this display, there’s no doubt that stages like the Royal Albert Hall are in their future.
Photo by Phil Honley
Earlier in the evening, troubadour Tom Moriarty and his band provided sterling support, his transition from lauded folk artist to blues singer a gratifying one. With his distinct and warm vocal style, along with some tasty guitar playing, numbers like ‘Pride’ and ‘When I’m Over You’ go down well, the acoustic ‘She’s Like The River’ plainly displaying his songwriting skills. Expect to hear a lot more from him in the future.
As undoubtedly good as he was, the evening belonged to Ally Venable, her stunning display of fretwork and singing making it one of those ‘I was there’ moments that many will claim to have witnessed as she rapidly ascends to the major leagues. Without any question, one of the finest artists out there, Venable is practically untouchable right now and with a career already this impressive, the world is hers for the taking.
Photography by Phil Honley
