Review by Richard Byford for Metalplanetmusic
Joe Bonamassa was playing at probably his third favourite home (alongside the Ryman Auditorium in Nashville) the iconic Royal Albert Hall, London on the 7th of May, the day before his 49th birthday.
The house lights dimmed, the walk-in music faded and Bonamassa walked on stage and just began playing – starting with Break Through, then Trigger Finger and 24-hour Blues: in-your-face quality blues rock. It was what people expected and the reason why they were there. Nothing tentative or half hearted. He worked straight through the first nine songs, stopping only to swap guitars and eventually acknowledged the audience in the way that he does. He’s paid to play, not to talk – and that’s what he did.
When he took a break nearly an hour later, it was to say hello and introduce his band. Calvin Turner on bass, paired with Lemar Carter on drums and Josh Smith on second guitar. Jade MacRae and Danielle DeAndrea were on backing vocals. It’s not clear if those two were paid to dance, as well but they did it anyway, with gusto – in fact it’s doubtful if anybody could have stopped them! Last to be introduced was the new guy, Lachy Doley on three keyboards including a Hammond organ (complete with Leslie), pouncing on the keys throughout, like a big black over-excited kitten on its birthday.
Joe is known for being very particular about tone and authenticity. Although when he plays numbers associated with other artists, he usually does it his own way but going to extraordinary lengths to get the sound right. He has one of the world’s largest collections of vintage guitars and offers respect to original artists by playing a near-identical guitar – even down to the year of manufacture. This is not just a tribute, it is respect – and in some cases, remembrance.
Donal, brother and manager of the late Rory Gallagher was in the audience for this performance, and the show opened with Joe playing a very old sunburst Strat with most of the finish worn off. It didn’t appear to have as much sweat-marked bare wood showing as Rory’s famed instrument, but it did the job well. It is said that Rory’s original guitar would never leave Ireland again, so that’s perhaps as close as he could get.
The first swap-out was to replace the Strat with a faded Gibson Les Paul. That’s not unexpected, as Joe is known for his inclusion of this specific guitar in his collection and on-stage. The actual one he was playing was the late Bernie Marsden’s. The guitar, known as ‘The Beast’, is still owned by Bernie’s family, and they don’t let it out their sight for just any old guitar player. It would have been Bernie’s 75th birthday on the day of the gig, so it deserved a special outing. The Beast got it, on his behalf.
As it was both the end of the tour and nearly his birthday (less than two hours later, in fact), Joe declared that he would be playing an extra song in this encore, including one of his favourites. At that point the 5,000 strong audience delayed the next part by spontaneously breaking out singing ‘Happy Birthday’.
This was his fifteenth time on the RAH stage since 2009, and he spoke fondly of all the musical acts that had previously shared the stage. He highlighted one song, which had special significance to him as his preferred sound-check song. It was played at the RAH by Cream in their historic farewell concert. What followed was a stunning rendition of ‘Crossroads’, as played on that stage, nine years before he was born. Hairs-on-the-back-of-the-neck-time for many in the audience.
As always, all the elements were there – including the use of a red Gibson 335 – to make it feel and sound like the original, but with his own improvisations, rather than copying those of Clapton. It was a stunning experience and one that only Bonamassa and Clapton himself could have pulled off with as much impact and authenticity.
He concluded, as is often the case, with ‘Mountain Time’. This song, along with earlier number ‘The Last Matador of Bayonne’, perfectly demonstrated two things that stand out. The first is the fact that he is not just a player-who-sings, but somebody who should be recognised as an excellent blues singer in his own right. The second, is his rare skill in charming intricate hidden tones from a guitar.
Most players have one main guitar that they use by preference, perhaps swapping them out for slide work, alternate tunings or string breakages! Some play with a few guitars to achieve specific tones, as Joe does. Very few of those will be able to handle a range of guitars and have the sensitivity to achieve the dynamic subtleties that Joe does intuitively.
He can go full-on into a song, setting the scene and telling the first part of the musical story, then transition into a quiet, almost secretive level of volume that makes you want to hold your breath in case you miss any minute detail. He can get you so close into it that you imagine you hear his fingernails on the wood of the fretboard. Then dives into full-on ferocious rock tones in an instant. The contrast is invigorating and adds exquisite layers to the music that few other players can match.
The 7th May show was his last gig in Europe for a while, as the tour moves back to the US. Other opportunities will be available in years to come. But in the meantime, if you see he is playing in a country near you, buy a ticket, If the cost of jet fuel makes it too expensive to fly, then find another way. Go by boat, swim or crawl – but be there!
Photography by Laurence Harvey
