Category Archives: Rock music

Rock bands and music

Live review: Sweet at Islington Assembly Hall 28/11/21

Back in 2019, when Sweet were faced with some unexpectedly sudden changes in personnel, it became clear that not only was the band embarking on a change in line-up it was also undergoing something of a change in personality, too. When I interviewed Andy Scott ahead of Sweet’s 2019 UK winter tour he hinted that the band was now headed in a harder rock direction:

“We felt like we ought to go for a bit more like it used to be in the 70s when we did a festival set. You’d get down to the nitty gritty. You play a couple of the heavier rock tunes that people want to hear so that’s what’s happening. It’s a work-in-progress.”

At that stage the refreshed/revitalised Sweet (with Paul Manzi taking over on lead vocals and Lee Small coming in on bass, following the departures of Pete Lincoln and Tony O’Hora, and with Steve Mann guesting on keyboards/second guitar) had only performed a handful of gigs. Back in 2019, as Andy Scott stressed, it was very much a work in progress. Limited rehearsal time before hitting the road probably meant a complete revamp of the setlist was out of the question. However, with a vastly expanded period of preparation following eighteen months of Covid-related postponements and rescheduling, we can now see this new vision for the band coming fully to fruition. Quite simply, this new line-up has given the band a whole new personality.

Sweet now is perhaps less a celebration of the band’s persona as era-defining singles act (albeit all the notable ones are still there in the set). Instead, it’s far about reconnecting with what the original band set out to achieve when they entered the studio to record the likes of Give Us A Wink and Off The Record. Although Andy Scott is now the last man standing (following the sad death of Steve Priest last year) it’s as though this new line-up have bottled up the spirit of what propelled Sweet onwards from the glam years into the mid to late 70s and unleashed it here and now in 2021.

Andy Scott is clearly very proud of this new line-up – as well as being very obviously delighted to be back on the road performing at long last. However, he makes no apology for the tight Covid-related security procedures in operation throughout this tour: “Basically, me and Brucey don’t wanna fucking die,” he tells us. Quite right, Andy. As our last surviving member from the classic foursome we want to hold on to you and no Sweet fan in their right mind would want to do anything to jeopardise that.

It’s an incredible gig tonight though. Paul Manzi is a hugely talented rock vocalist, Lee Small is an equally talented bass-player, the trademark harmonies are all top notch and, together with guest keyboard player/second guitarist Tom ‘TC’ Cory, the three inject a massive boost of energy alongside the truly heroic guitar-playing of Andy Scott and powerhouse drumming of Sweet veteran, Bruce Bisland.

As well as the big hits, the band power their way through the likes of ‘Windy City’, ‘Set Me Free’, ‘Defender’ (a bonus track originally recorded for a 2015 compilation) and an exceptional version of the band’s current single ‘Everything’. The latter is a song that first appeared on the Sweet Life album in 2002 – in my view by far the best Sweet album since the original band released Level Headed back in 1978. It’s great to see a song from this era finally make it back into the setlist – amazing what you can squeeze once you jettison the likes of ‘Co-Co’ and ‘Peppermint Twist’!

For casual fans there’s still a chance to sing along like crazy to ‘Wig-Wam Bam’, ‘Teenage Rampage’ ‘Hell Raiser’ et al and, of course, the band encore with blinding versions of ‘Blockbuster!’ and ‘Ballroom Blitz’. However, it’s now almost impossible to imagine this latest version of Sweet touring provincial theatres on package tours with the Rubettes and Mud as it was only a few years ago. Sweet is back – and in full-on rock god mode packing out decent venues with some energetic, re-invigorated and uncompromising melodic hard rock. And a glorious thing it is, too.

Setlist:

Action
New York Groove
Set Me Free
The Six Teens
Defender
Hell Raiser
Windy City
Everything
Wig-Wam Bam / Little Willy
Teenage Rampage
Love Is Like Oxygen
Fox on the Run
Blockbuster
The Ballroom Blitz

My book ‘The Sweet in the 1970s’ is available from all major book retailers – visit here

https://www.thesweet.com/

Interview with Andy Scott

Review: Sweet at Bexhill 2019

News: All change at The Sweet

Review: Sweet 50th anniversary concert – Berlin

Review: Sweet live 2017, London and Bilston

The Sweet versus Bowie: the riff in Blockbuster and Jean Genie – origins and influences

Review: Sweet at Dartford 2015

Review: Sweet at Bilston 2014

New album from Ronnie Romero-fronted melodic metal trio The Ferrymen

The Ferrymen are a melodic metal outfit fronted by Ronnie Romero who was hand-picked by Ritchie Blackmore for the latest revival of the Rainbow franchise a few years ago. Following up their 2017 self-titled debut and 2019’s A New Evil (reviewed here) the band have announced a new album out in January One More River To Cross. Meanwhile, they’ve kicked things off with the release of a brand new single ‘One Word’.

Delivering their own brand of melodic power metal, The Ferrymen were formed by Swedish guitarist/songwriter/producer Magnus Karlsson (Primal Fear, Allen/Lande, Magnus Karlsson’s Free Fall), singer Ronnie Romero (Lords of Black, Sunstorm, Rainbow) and drummer Mike Terrana (Rage, Axel Rudi Pell, etc).

The Ferrymen’s One More River To Cross is released by Frontiers on 21st January 2022.

Cover artwork is once again provided courtesy of Stan W. Decker.

facebook.com/theferrymenofficial

Album review: The Ferrymen – A New Evil

Ritchie Blackmore’s Rainbow at Birmingham 2017

This week’s featured artist: blues duo When Rivers Meet – new album 19th November

 I hadn’t come across husband-and-wife blues duo When Rivers Meet until I caught them supporting King King on their recent tour. I was immediately impressed as soon as the pair walked out on stage to deliver loud, raunchy, rocked-up blues with bags of noise and bags of power.

The duo’s second album Saving Grace is released on 19th November and follows their extremely well-received debut We Fly Free which was released back in 2020, and two earlier EPs.

When Rivers Meet are Grace Bond (lead vocals, mandolin, violin) and Aaron Bond (guitar, vocals).

Grace: “We were very conscious that our debut album We Fly Free was a step up in production from our two EP releases previously The Uprising EP and Innocence of Youth. We also wanted to keep a live, authentic vibe to the new album to retain the energetic feel in the music.”

Aaron: “We wanted the album to have more of an upbeat rock feel. We knew exactly what we wanted before we set off to record Saving Grace. We set our expectations high. We’re so pleased with the result and just hope everyone else loves it as much as we do!”

Grace: “Although we wanted to do something different from our previous work, we still wanted all the same elements that make our music distinctive and recognisable as When Rivers Meet.”

Aaron: “Saving Grace has a more upbeat rock feeling than We Fly Free,” Aaron says. “We were very conscious when we started to record this album that’s the direction that we wanted to move in, and it was exactly the kind of result that wanted to achieve.”

Aaron: “As well as being inspired by classic blues including John Lee Hooker and Muddy Waters, we also draw a lot of influence from classic rock bands that include Led Zeppelin, Bad Company, Cream, and Free. To emulate some of the feel or tone of these legendary blues pioneers and seminal rock bands is something that we strive to do, and hopefully people will hear that in our music and relate to it.”

Credits: Header photo by Rob Blackham, live photo by Bruce Biege

Album released: 19th November 2021

https://whenriversmeet.co.uk/

Related post:

When Rivers Meet and King King at Bexhill

Prog/acoustic: album review – Across The Sea ‘The Wayfarer Triptych’

One of my album delights this year has been the The Wayfarer Triptych from Worthing-based prog acoustic duo Across The Sea. That is not just because I had the pleasure of working on PR for Hannah Katy Lewis and Pete Ferguson who make up Across The Sea but because it really is a genuinely stunning album.

Their nine-track, three-part concept album narrates the story of a girl who discovers a beguiling triptych painting and embarks on a fantastical journey in search of hope, purpose, and a forgotten truth. It’s an ambitious concept by any standards but even more so when you consider that the entire album is built around the extraordinary vocals of classically-trained Hannah Katy Lewis and the equally extraordinary acoustic guitar-playing of Pete Ferguson. Between them they conjure up the sort of magic that other prog outfits with banks of keyboards and a studio full of multi-instrumentalists would be hard-placed to emulate. The sound is deep and lush and all-encompassing with as many twists and turns as the story-telling in the lyrics.

This stunning album with breath-taking vocals, astonishing guitar work and beautiful atmospherics will have great appeal to anyone with an interest in the folk/acoustic and prog worlds. My tip: turn it up loud, forget everything and totally immerse yourself in the magic and intensity that is Across The Sea.

Released: 1st October 2021

https://www.acrosstheseauk.com/

Related posts:

Progressive duo Across The Sea unveil much-anticipated second album

Book review: ‘Top Of The Pops: The Lost Years Rediscovered 1964-1975’ by Peter Checksfield

A prolific author and archivist of music history and pop culture, the latest book from Peter Checksfield is a mammoth 650-page tome devoted to the Top of The Pop’s glory days – from its inception in 1964 through until 1975.

As a writer I’d already made use of Checksfield’s own meticulously-researched publication ‘Look Wot They Dun’ which chronicled the TV appearances of all the key figures from the UK’s glam rock scene in the early to mid- 1970s and it’s referenced in my own book ‘The Sweet in the 1970s’. Likewise, I’m pretty sure I’ll be making similar use of this latest volume.

It includes a complete episode guide stretching from the first ever show on New Year’s Day 1964 through to the Christmas Top Of The Pops edition that went out on 25th December 1975. Each entry includes a chronological run-down of the acts performing on that show, potted bios and relevant chart positions. This is no mean feat given that many of the episodes from this period no longer survive. Only five complete shows from the 1960s still exist and only two complete shows from 1972 at the height of the glam period survive – although many more clips (the handiwork of early home-taping, sneaky BBC technicians or overseas TV stations) mean the archive isn’t quite as empty as the official figures initially suggest.

While the book is a crucial reference work, what really brings it to life is a succession of anecdotes that Checksfield has garnered from various artists who appeared on the show. Ralph Ellis of the Swinging Blue Jeans recalls a scuffle with Keith Richards in the BBC canteen, surviving members of the Bonzo Dog Doo Dah Band recall their time on the show miming to ‘Urban Spaceman’ and Ray Dorset (Mungo Jerry) recalls arriving late for rehearsals when ‘In The Summertime’ hit the charts as he was still working at the Timex factory and had to ask his boss for time off.

There’s also plenty of little nuggets I learned for the first time. Who knew that for a few months in 1971 Top Of The Pops ran an ‘Album Spot’ where artists would perform three songs from a current album, for example? My own personal recollection from when I really remember looking up and avidly watching an episode of Top Of The Pops (rather than it just being on in the background as I coloured with crayons or whatever) was when that week’s presenter announced a brand-new single from Mud called ‘Tiger Feet’. What 7yo doesn’t love tigers?! On checking the episode guide I find that the episode in question went out on 3rd January 1974.

Thoroughly researched and with some fascinating personal insights together with a comprehensive index of each artist’s appearances on the show ‘Top Of The Pops: The Lost Years Rediscovered 1964-1975’ will appeal to any fan of the show and anyone with an interest in pop culture over that period.

Published: 2021

Related post

‘Look Wot They Dun! – The ultimate guide to UK glam rock on TV in the 70s’ by Peter Checksfield

News: ‘Cultural Anthropology’ dystopian blues rock meets folk horror – new single from Tom Wilcox

Released: 12th November 2021 on Maniac Squat Records

Tom Wilcox releases a new dystopian blues rock song, Cultural Anthropology. The track references the 2019 Ari Aster folk horror film Midsommar. However, it is principally based on Tom’s experiences and knowledge of occult practices on the Essex-Suffolk borders, where he was brought up, in the late 70s and 80s.

Tom Wilcox: “Regression therapy has helped me to piece together fragments of memory and the recollections of family and friends into an almost coherent picture. The dark strangeness of what goes on in timeless, quiet, places is not widely known, and yet it is endemic.”

The chorus of Cultural Anthropology also references Richard Hamilton’s seminal collage from 1956. The B-sides making up this three track EP are covers of Leonard Cohen’s ‘Treaty’ and Brian Dewan’s ‘Where They Belong’.

Both Tom Wilcox and guitarist on the track, Paul Cuddeford, are members of London-based art rock band, of Last Day Sect. Their critically acclaimed debut album, ‘The Gothic Novel’, was released in 2019. Joining Tom and Paul is keyboard-player Florence Sabeva.

Cultural Anthropology is released on 12th November on all the main digital platforms

About the artists:

Tom Wilcox was the front man of 90’s art punk band Maniac Squat finding notoriety with their 1995 ‘hit’ F**k Off (Single of the Week in Kerrang!) Tom has since produced albums for Gillian Glover and Lisa Ronson; the latter, co-produced with Paul Cuddeford, receiving a 4-star review in Mojo and widespread critical acclaim. As a songwriter Tom has provided material for many bands including Lover and Florence Sabeva.

Paul Cuddeford is a guitarist, multi-instrumentalist and composer with many years’ experience producing music for television and film. He is best known for his guitar playing for artists including Ian Hunter, Steve Harley, Lisa Ronson, Tom Jones, Bob Geldof, Cat Stevens and Paul Young. Paul co-wrote and co-produced Lisa Ronson’s debut album ‘Emperors of Medieval Japan’.

Florence Sabeva is a London based keyboard player, a singer-songwriter and pianist with classical background. She’s a versatile musician who has played alongside rock royalty including Heaven 17, Earl Slick – guitarist for David Bowie, Bernard Fowler – vocalist for the Rolling Stones, Steve Norman – member of Spandau Ballet, Kevin Armstrong – guitarist for Iggy Pop and classical crossover singer Laura Wright.

https://www.facebook.com/ManiacSquatRecords

Related post:

Maniac Squat: after 25 years Colchester’s favourite art punks return with experimental concept album

Live review: The Manfreds at Congress Theatre, Eastbourne 26/10/21

Given they had most of their hits before I was born or not long afterwards, Manfred Mann were never part of my youth – unlike the vast majority of tonight’s audience. However, I’ve long had a soft spot for many of their hits, not least the iconic theme tune they created for Ready Steady Go – again not part of my youth but I’ve seen enough clips to get a warm glow of nostalgia. A short trip along the coast to Eastbourne’s cavernous Congress Theatre then was therefore in order.

They can’t use the name Manfred Mann any more because the actual Manfred Mann has been happily ensconced in the world of prog since the collapse of the original band at the end of the 60s. But the lineage of this modern-day version, who have been gigging since the 90s, is impeccable. It includes Mike Hugg and Tom McGuinness from the original band and not one but both original frontmen, Paul Jones who was lead singer from 1962 to 1966 and Mike D’Abo who replaced him as lead singer from 1966 to 1969. Added into the mix are Jones’ long-time Blues Band colleague, Rob Townsend, on drums, bass-player Marcus Cliffe and saxophonist Simon Currie.

I had high hopes, especially after witnessing a highly-enjoyable gig by Paul Jones’ other main outfit The Blues Band a few years ago. It all seems to start off a little stilted, however, as they rattle through a number of hits – the two lead singers taking it in turns depending upon who was on the original single. Jones explained that a gash to the forehead had taken him off to Eastbourne A & E that afternoon so maybe that had something to do with it – but even D’Abo’s voice seemed to be a little under strain and he was shouting rather than singing the main refrain from ‘Ha Ha Said The Clown’. I don’t like giving bad reviews, especially for such an esteemed institution of  British pop as the Manfreds – but it all seemed to be a little lacking in energy. Then Jones announced that they would be finishing the first half with a blues classic that was the very first track on their very first album – and the band launched into an absolutely stunning – and smoking – version of Howlin’ Wolf’s ‘Smokestack Lightning’. The Manfreds seem to move into a completely different gear for this and I was optimistic for the second half.

The second set did not disappoint at all. We got more hits like ‘Semi Detached Suburban Mr James’, ‘Pretty Flamingo’ and ‘Fox On The Run’ but also some numbers, while not Manfred Mann hits were certainly part of the family tree: Paul Jones’ solo hit ‘I’ve Been a Bad Bad Boy’ and the McGuinness-Flint classic ‘When I’m Dead and Gone’.

Always an important component of the original band’s persona there was also far more of a jazz vibe to the second set, which really saw the band getting into the grove musically. The advertised special guest, Georgie Fame, could not make it due to illness and so in his stead the band brought out Zoot Money who entertained the crowds with a few numbers and self-deprecatingly referred to his one and only hit single. He proved a worthy last-minute replacement and was hugely entertaining.

After finishing the main set on a high with a sing-along version of ‘The Mighty Quinn’ the band were back for an encore with a final song that was a surprise to no-one – giving us all a blast and a communal sing-along of ‘Doo Wah Diddy’.

While it seemed to take a little while to get going this ended up being a great concert from some great icons of the 60s.

https://www.themanfreds.com/

Related post:

The Blues Band at St Mary in the Castle, Hastings

Live review: King King at De La Warr Pavilion, Bexhill 19/10/21

This review was originally published by Get Ready To Rock here

After numerous attempts at rescheduling during the Covid crisis, King King’s tour in support of their 2020 album finally gets under way. Venue availability, as a myriad of bands all attempt to simultaneously reschedule gigs that have been postponed over the last eighteen months, has meant that the King King tour has ended up in two parts – with half of the dates being played this month and the rest being performed in February of next year. Bexhill is the fourth night of this first leg of the tour.

Supporting King King on this tour are husband-and-wife blues duo When Rivers Meet. Other than quickly skimming their bio on the seven-minute train journey from St Leonards to Bexhill I confess to knowing little about When Rivers Meet in advance of seeing them. When you think of a duo it can conjure up thoughts of some, mellow, semi-acoustic folky-type blues act. But nothing could be further from the truth. As soon as they walk on stage Grace and Aaron Bond deliver loud, raunchy, rocked-up blues with bags of noise and bags of power. “This is the biggest venue we’ve ever played in,” they confide to the Bexhill crowd. They had no need to worry. Their sound is big enough to fill the venue many times over and the De La Warr audience respond enthusiastically to the pair’s six-song set. There is certainly plenty that will appeal to both hard rock and blues fans in terms of this duo’s highly original output. They embark on their own headline tour next April (supported by the redoubtable Troy Redfern) and are well worth checking out.

While When Rivers Meet give us gritty, raucous raunch, King King, meanwhile, take us straight into a world of polished, soulful, big production virtuoso blues rock, instantly evoking the spirit of the genre’s early 70s golden age. While the support act may have been new to me the headliners are certainly not. My late father was a huge follower of vocalist/lead guitarist, Alan Nimmo’s previous outfit: the Nimmo Brothers. Indeed, so great was his dedication that we even had one of their songs played at his funeral. Paradoxically, Alan Nimmo is now reunited with his brother Steve who joined King King on rhythm guitar just in time to contribute to 2020’s Maverick album. There’s clearly a long-standing dynamic on stage between the two brothers and Alan Nimmo relates how one of tonight’s songs ‘You Stopped The Rain’ is written in tribute to his older brother.

Perhaps the most important relationship on stage tonight, however, is the interplay between lead guitarist Alan Nimmo and keyboard player Jonny Dyke. The stunning virtuosity on display between guitarist and organist and the seemingly effortless way the two interact to conjure up such a delicious cornucopia of lush, soulful and emotionally-laden licks is one of the real high points of this band.

Set-wise the songs are drawn from the recent Maverick album (now at long last the band finally having the opportunity to perform these songs live on stage in front of a live audience) interspersed with older material like ‘Long History of Love’ – one of the ever-green crowd-pleasers tonight.

For an encore, King King return sans drummer and bass-player for an uncharacteristically melancholic ‘When My Winter Comes’ – another track from the new album, before the full band return to ensure the audience are sent away with a spring in their step courtesy of stunning renditions of ‘Stranger to Love’ and ‘Let Love In’.

Joyful, life-affirming and exuding polish and class, as I ease myself back into the world of regular gig-going once more King King are just the thing to remind me exactly what I’ve been missing these past eighteen months.

Set-list – King King

She Don’t Gimme No Lovin
Fire In My Soul
One World
Waking Up
Rush Hour
Coming Home
A Long History Of Love
You Stopped The Rain
Never Give In
Whatever It Takes
I Will Not Fall
Encore:
When My Winter Comes
Stranger To Love
Let Love In

https://www.kingking.co.uk/

Photos credits: Bruce Biege

Related reviews:

King King at Hastings 2018

Album review: King King – Maverick

This week’s featured artist: singer/songwriter/guitarist Joe Matera – new single features Slade’s Don Powell

Darren’s music blog gets a ton of email traffic about artists flagging up new releases. There are not hours in the day to follow every single one up. This one was about to slip through the net but singer-songwriter Joe Matera was a little more persistent and kindly sent me a follow-up email a week later. What’s more he was flagging up that none other than legendary drummer Don Powell of Slade is performing on his new single. That immediately sent it to the top of the my ‘things-worth-checking-out-pile’ – but first a little more about Joe…

Also a prolific and respected music journalist, Joe has played in a number of rock outfits in his native Australia. He was founding lead guitarist for classic rock band Double Vision and before that played in a popular local band On The Prowl. As a guitarist Joe has also collaborated with a number of artists and his original guitar instrumental compositions have appeared on various film soundtracks. In 2012 he performed with Steve Harley for a series of live acoustic performances for radio and TV on Harley’s first ever promo tour of Australia.

Official Promo, 2019 – Photo: Anders E. Skånberg

Joe has continued to tour and record as a solo artist, releasing several albums and EPs of original material as well as providing support for artists as diverse as Peter Kriss (ex-Kiss), Canned Heat and the Bay City Rollers. In early 2018, he joined Swedish based rock band Rough Rockers as permanent member on guitar.

His latest solo single ‘Inside Looking Out’ is released towards the end of this month. It’s a song that starts off deceptively mellow until the aforementioned Mr Powell’s unmistakeable drumming kicks in and we are served up an infectiously jaunty slice of contemporary pop-rock with a blistering guitar solo to boot.

Because of lockdown restrictions the track was recorded remotely across three countries, Don Powell (drums) in Denmark, Janne Borgh (bass) in Sweden and Joe (vocals, guitars and keyboards) in Australia.

Don Powell: “I was really honoured when Joe asked me to play drums on his track. I had SO much fun in the studio recording my drums for him…I can also speak for my engineer Torben Lehmann, we both really got off listening to Joe’s track as I was recording my drums. Can’t wait to do more together.”

Inside Looking Out’ is released via Mercury Fire Music on October 29th on all digital platforms

https://www.joematera.com/

Related posts:

Interview with Don Powell

Album review – Don Powell’s Occasional Flames ‘Just My Cup of Tea’

Veteran drummer Don Powell out of Slade

Interview with former Slade legend Jim Lea

Slade, strikes and the three-day week: the story of the greatest Christmas record ever made

Slade at Donnington 1981

Header photo credit: Sofia Rewert-Strasser

Live review: Big River at The Carlisle, Hastings 9/10/21

I’ve now been out to several live gigs since lockdown restrictions eased but it’s still feeling a bit of a novelty and there’s a definitely buzz from the novelty of being in a live music venue. This weekend was the first time I’d been out to my local rock pub, The Carlisle on Hastings seafront, in almost eighteen months, where I had the pleasure of seeing Kent-based blues rock sensations Big River. While little about the Carlisle seems to have changed in the past year-and-a-half (and why on earth would it) there have certainly been big changes afoot in the Big River camp.

Former lead singer Adam Bartholomew has departed and in his place comes another Adam – Adam Barron. While I’ve been following the career of Big River with interest these past few years, indeed ever since the band was formed back in 2016 when guitarist Damo Fawsett quit another Kent-based rock band – Slam Cartel. Similarly, I’ve also been a real fan of Adam Barron, ever since I first saw him fronting Mick Ralphs’ Blues Band at a Butlins Giants of Rock weekend back in 2015.

To say I’m delighted by these two joining forces is a massive understatement. Barron, hugely influenced by Paul Rodgers with a vocal every bit as rich and soulful and emotive as his hero, has an absolutely incredible voice. It’s not difficult to see why a bonafide rock giant like Mick Ralphs snapped him up prior to the former Bad Company guitarist’s sadly debilitating stroke put him out of action. For anyone with a love of classic-era blues rock Barron and Big River is literally a match made in heaven.

At the Carlisle tonight the new line-up certainly did not disappoint. Barron has effortlessly eased himself into the new frontman position, bringing to it both those incredible vocal performances as well as an immediate emotional connection with the audience. The band are in tremendous musical shape, as well. Guitarist Damo Fawsett delivers some stunning solos – his bluesy, soulful playing the perfect match for Barron’s vocals, together with great driving rhythm from bassist Ant Wellman and drummer Joe Martin.

The set-list is a mixture of Big River’s first album (written and recorded prior to Barron’s arrival) a couple of new songs (including the excellent recent single ‘Don’t Hold Out’ – where Barron brings out his ukulele, not something the Carlisle audience are used to seeing on a Saturday night) and a handful of blues and blues rock courtesy of Robert Johnson and Free.

The whole thing is executed with such style and panache I have to keep reminding myself I’m standing in a pub in Hastings rather than a 2,000-seat arena and an £80 hole in my bank balance somewhere. Big River were always a great blues rock band. Now, however, they are undeniably one of the absolute best. It will be fascinating seeing where Big River go from here. They are almost certainly going to be bigger concern than they were previously and I await their next release with eager anticipation.

https://www.facebook.com/bigriverblues

Related posts:

Single review – Big River – Don’t Hold Out

Album review – Big River – Redemption

Mick Ralphs Blues Band at Giants of Rock 2016

Dave “Bucket” Colwell at Leo’s Red Lion, Gravesend 2016