Review by Paul Monkhouse for MPM
In a world where AI generated artists are flooding the market and the TikTok generation just seek the next three second viral high, it’s reassuring to see an artist who puts the human touch as their first priority.
Sari Schorr does just that, the New Yorker back on these shores following some select dates last year that included an incendiary set at Maid of Stone Festival. Having already built up a fan base over here with tours opening for Sweet and Keifer Sutherland amongst others, Schorr’s ability to exude genuine warmth and a connection to the audience that goes beyond the norm makes her a compelling live performer. Opening this latest jaunt around the UK, she returned to Bury St Edmunds cathedral of sound, The Apex, a venue purpose built to bring the best acoustics money can buy.
Having played a triumphant show with Sweet three years ago, it was a beaming Schorr who ran onto the stage, many of those in the audience having seen her then and the reception one of genuine warmth. Having flown in from America the day before, there was absolutely no sign of jetlag as she tore into the deliciously simmering rock blues of ‘Mister in the Middle’, the soul power in her voice a thing of wonder.
Next up, ‘Ain’t Got No Money’ took a smokier, more sensual route, new writing partner and guitarist Jamie Walker laying down a solo that old Slowhand, Eric Clapton himself would have been proud of. With Keifer having stolen most of her band for his current tour, this change of personnel has freshened things up onstage, the new members bringing their own flavour to the songs and rhythm section Russ Parker on drums and bass player Carl Stanbridge give things a tight but loose groove whilst keys player Martin Jacoby adds some nice splashes of colour to the sound.
Front and centre though is Schorr, her extraordinary vocals on the widescreen and Tom Petty-ish ‘Running Wild’ filling every inch of the high vaulted ceiling, the song seemingly taking over her whole being.
Able to bring rocking songs with real emotion, ‘Monday Morning’ had a swampy Creedence Clearwater Revival feel juxtaposed with heartfelt lyrics about time with loved ones, Jacoby’s keys nicely shimmering and ‘Better Day’ brought an anthemic and funky feel to the evening, making it impossible to stand still. As fun as this and forceful new song ‘Cool Hand Rider’ were, it was on the deeply personal showstopping ballad ‘They Call It Freedom’ and a bewitching and haunting ‘Man on Fire’ that Schorr hit hardest, the numbers dedicated to her grandfather and father respectively. There was an odd moment when the latter finished, a tangible pause where it seemed like everyone held their breath, almost afraid to break the spell of what they’d just witnessed before breaking into the biggest round of applause of the night as the singer and band beamed.
Reaching back to her debut, ‘Ordinary Life’ remains one of her most soulful songs but the Stonesy strut of new song ‘Elevate’ shows that the best is yet to come. Showing just how quickly they’d bonded, the mainly English band were really cooking by the finish of the set and eschewing the tradition of going offstage before the encore, the night finished with the ultimate feelgood anthem ‘Love the One You’re With’, the vocalist declaring we all deserve to feel good.
While lesser artists are filling huge halls, this chance to see someone this good in a relatively intimate space was a real antidote to the feeling that music has just become more of a commodity than ever. Certainly, Schorr deserves to be selling the Royal Albert Hall and has the talent to do so, but until that happens, its just a joy to be in her presence. Life affirming and powerful, the night was a true celebration and one shared by every soul there. Absolutely unmissable.
Photography by Laurence Harvey
