Big Boy Bloater On Tour Arrives at The Louisiana Bristol
Some say he came out of the swamp. The truth is; the number is It Came Outta The Swamp. Check out this clever video below. It Came Outta The Swamp is just one of the superb tracks on Big Boy Bloater & The Limits album Luxury Hobo.Bluesdoodles has listened and agrees this is a soundscape of what many of us feel but do not have the talent to encapsulate in a 4-minute display of blues that may not be pure but is definitely mean dirty and very good. Read more to find out why the album was a perfect TEN – HERE
Now you have read the review of the album, watched the video. Next move os to go and hear Big Boy Bloater and The Limits LIVE! The Band is out around the country September & October.
July Arrives with Live Music King King & Bad Touch
The anticipation had been growing day by day as June faded fueled by the release of (She Don’t) Gimme No Lovin’ from the forthcoming King King album Exile & Grace. Having not seen the band we love to follow hear live, six months had past since we welcomed Alan Nimmo, Wayne Proctor, Lindsey Coulson and Bob Fridzema on stage. Before that moment Bad Touch had the task of warming an audience already hot with excitement.
Bad Touch filled the stage with charisma and the driving force of their Southern Rock, Rock n’ Roll energy and panache. With Robert Glendinning back on lead guitar after a short sabbatical, adding his vibe to the quintet, and with the vivacious head of hair on vocals, Stevie Westwood; rhythm guitarist Daniel Seekings and a rhythm section drummer George Drewry & Michael Bailey on Bass they were on top form. This was a set where they may have sung 99% but the energy was off the richter scale they wanted Bristol to have fun tonight. The slide guitar work from Glendinning cemented his role in the band and the interaction with Daniel Seekings had the guitars singing in a disorderly, melodic party of Rock n Roll mayhem. Truth Be Told, the apt title of their latest album, the set was short, no time for small talk as they squeezed in every ounce of energy into the songs, we have heard on Planet Rock and Outlaw, every band should have a cowboy song. The cheers were huge as Bob Fridzema joined in the last night party atmosphere at the Fleece to warm up before the main event. Bad Touch, turn every note into golden southern rock nuggets absolutely modern as they build on retro power; they are back on the road again very soon.
A short break ensued allowing friends to catch up at The Fleece, and then King King stepped on stage the warmth flowed from the band and the crowded venue. King King were back in Bristol and on fine form. We wanted to hear old favourites and be part of the lucky few to hear live the first single to have been released from Exile & Grace; (She Don’t) Gimme No Loving. Tonight they did not disappoint they gave us so much happiness, feeling of joy King King have the knack of pleasing the fans, leave us wanting more always something from the back catalogue we wished they had played. Tonight they were happy to be on stage combined with a raw energy they wanted to play above the expectations of the fans and connect to those hearing the band the first time.
Alan’s smile was broad and genuine, not a showman’s face; with his red kilt , guitar in hand including a blue plaster over a cut finger he made every one welcome to Saturday night at The Fleece.
The set comprised nine numbers plus Let Love In the encore we have come to expect and gives the audience the opportunity to be the community choir led by the kilted wonder that is Alan Nimmo. The mutual joy was definitely shared on stage and in the audience
With a mix of numbers from the live and studio albums saw the welcomed return of Heavy Load. Originally a Free number given the Nimmo treatment his guitar work was as ever magical and the slight slip of the stings replicated a rare Free outtake! Alan chortled at the end of the song. Interspersed were crowd pleasers that have become the heart of the bands DNA You Stopped The Rain and Long History of Love. The opportunity for the band to get funky and the audience to dance, despite being curtailed by space clap our hands on All Your Life. What fun with Bob’s hands as ever throughout the evening caressing the Hammond making it sing in harmony with Alan’s vocals that were on top form tonight. Into the mix the muscle of the rhythm from bassist Lindsay whose strings gave a rich depth of funkiness and Wayne’s drumming hitting out a vibe that showered The Fleece with percussive force and energy.
Then there was the first opportunity to hear (She Don’t) Gimme No Lovin’. The cheers were rapturous before a note was played as Alan thanked everyone for buying the single so it was No.1 on UK Blues Chart. The number is a perfect single, introducing us to the album Exile & Grace out later this year. The hooks are sharp, the lyric memorable and beat infectious. Rockier that many of their other numbers, the sound invokes sound of British Rock ‘n Roll with a definite hint of Thunder in the air. The single is 100% King King and will become a firm favourite as it is an ear worm of ticklish delight.
Having reviewed King King for many years two things always strike me after the show. Firstly; you are left euphoric the blues rock they deliver pleases the crowd, they always entertain. Secondly, King King connect to your soul, with a feeling of friendship, belonging to a fellowship cemented by this is why LIVE MUSIC has a special power every time.
King King set List
More Than I Can Take (Standing In The Shadows)
Wait On Time (Live)
Rush Hour (Reaching For The Light)
You Stopped The Rain (Reaching For The Light)
Long History of Love (Standing In The Shadows)
Waking Up (Reaching For The Light)
Heavy Load (Standing In The Shadows)
Gimme No Lovin’ (Exile & Grace)
All Your Life (Take My Hand)
Stranger To Love (Reaching For The Light)
Opening the proceedings of a night organised by Victoria Bourne of Husky Tones are a young band Drunken Butterfly. The trio is retro punk with modern lyrics. At times it was so retro it was nostalgic, bring back memories (well for the older members) of a diverse audience at The Louisiana tonight.
Tonight the trio bought energy as they performed their own numbers form current EP and a cover of PJ Harvey a big inspirational force on Darcie, bassist & vocalist, Alice guitarist & Katie on drums summing up the power behind them with the slogan Girls Unite. The band is raw and youthful as they open tonight’s proceedings; With Sister, Not all Men and Socialist in The City, title track of the EP with confidence they played a new number performing it live for the first time tonight,; Good Bye Union, reflecting on Brexit. Drunken Butterfly with hints of many bands from the past including Poly Styrene have the potential to make a noise that will be long appreciated on the music scene.
Next Husky Tones, a duo that re-defines what combining vocals, guitar and drums can achieve. Tonight the music was loud, punk-blues fitting in with the evening. Victoria Bourne & Chris Harper have a wide catalogue, always shaping the music to the audience. Opening with Round The Wrekin from the inspirational album Who Will I Turn To Now. The title track a salutary tale of the reality of the UK benefits system in 2017. The music fell out of the speakers with spirited, raw attitude from the power of the sticks and the sublime edgy and raw licks of the guitar. . Momentum; one of the highlights live with the combination of Victoria’s drumming, vocals, strong lyrics and deep chugging rhythm from Chris’ guitar. The upbeat party vibe lifted the mood These Hips Are Made For You, fast furious and still angry hence ‘punk-blues. Short set, including to celebrating living in Bristol for six-years a Portishead cover, Glory Box they may have sung the lyric-‘ I’m so tired, of playing’, truth is we never tire of listening to the duo that is never afraid to stretch the blues with punk and fun.
Closing the night, the legendary Rita Lynch. Rita has sung punk since the days in London with her own band in the 1980’s. He fame rose as bassist in Bristol band Blue Aeroplanes. Her music is always edgy politically motivated and so much more. Rita creates sonic imaginary as she explores social, philosophical thoughts and sexuality . Music with a clear message. Closing with an authentic true Punk Rock sound with hefty chords, great rhythm guitar from Rita tonight augmented her voice as she stood on tip toes to deliver here recognizable sound. The set was accomplished weaving in tones of Patti Smith, Pat Rook and The Kinks. A very infectious sound played by a top-notch performer. The set list was full of numbers and we were left wanting to hear more; opening with Tied To You , with hope and losing included this was a set where the lyrics covered the hurt and never-ending cycle of life, at the heart Hope. We all say thank you Pandora for leaving that in the box.
Tonight, we heard three bands united by feminist lead attitude. Led by three strong musicians who happen to be women and for once women on the stage outnumbered the men. A great night of local music celebrating beliefs, hope and above all punk inspired entertaining sounds and lyrics that cut through to the heart of the issues. Long live music and welcome the day when fairness and equality is a reality not a hope.
Tuesday Night Brighten with Devon Allman Playing Live in Bristol
Kick starting the evening loud, Mark Pontin Group who had traveled over the bridge to open for Devon Allman once again tonight. His set had a jam feel that didn’t showcase the music from his albums. Joined by Gwyn Ashton slide guitar was added to the rock-blues mix. They certainly got the crowd ready and impatient to hear Devon Allman in Bristol tonight.
Tuesday Night was definitely brightened with Devon Allman Band in town to play live music at The Tunnels. We were in for a guitar driven festival of music that hits all the right pleasure spots. Devon, jams, moulding the southern riffs and licks with vocals that have a tale to tell. Tonight Devon dipped into his back numbers from Honeytribe through to the last three superb albums.
The band that surrounded Devon, had a raw energy that bounced of the tone and textural delight that is the winning combination that sets Devon above many other troubadours of modern song; his and voice, he warms the room, engages the audience and leaves them wanting more of his music. This is why the atmosphere was electric, the audience surged forward as Devon played from the edge of the stage. Tonight, weaving the numbers together from his three Devon Allman Band albums on this Ride Or Die World Tour, with artful covers and a dip back into time to the Honeytribe his glorious licks from his Les Paul, a beautiful listening experience.
Following on from a favourite opening number Wash In A, we stepped on the Ragged & Dirty trail with Half The Truth, with that familiar yell of inclusion from Devon as he got the crowd clapping. Flowed by the distinctive open cascading of notes leads us into Can’t Lose ‘Em All leading us as the dance rhythm hits into Devon’s vocals, rich more and emotive. The room ant the The Tunnels was awash with the vibe of music that flows with an organic texture and form, not contrived this is music from the hearts, soul and talented fingers of every musician on stage. The interaction between Jackson Stokes animated playing and Devon was spellbinding it was music that you want every track to last longer. The rhythm section, powerhouse to any band did so much more that keep the beat. Between bassist Justin Corgan and drummer Anthony Steinhaur they shaped the music; providing the strong base for Devon to fly from.
From his time with Royal Southern Brotherhood, Left My Heart In Memphis joined the party, and it was a true Tuesday night party atmosphere as the wonderful lyrically driven Turn Off The World from Turquoise held us all in the hands of Devon’s guitar hands, with pick in his mouth and the fret board manipulated under his powerful direction.
Dipping into Honey tribe we heard Mahalo (Hawaiian for Thank you) from their debut album back in 2006, a wonderful instrumental that allows the instruments to communicate with you. The vibe is cool hints of Santana but one-hundred percent Allman a jam full of depth and wonder. We collectively thanked Devon for the music by loud cheers, clapping and dancing. We didn’t need any encouragement to participate in Bob Marley & The Wailers, No Woman No Cry. The Tunnels rocked on a Tuesday.
The music was an amalgamation that is all the strong with southern rock and the interpretations of the blues with Checking In On My Baby (Junior Wells); the music has a raw edge, slightly dangerous as Devon grins you are never sure what trickery will come out of the Les Paul. It always weaves its magic and tonight was no different.
Closing the set with Midnight Lake Michigan, we could not believe the time had flown by. The interludes and extras that Devon and the band blended into the set list let everyone shine a true celebration of music, live, dirty and energised. There had to be more in the bands tank of music. Yes, there was as they came back for a demanded encore. First, Devon teased us, with licks and riffs, named that tune. Before two numbers from Ride or Die Night Like This and Say Your Prayers. If we are good and say our prayers lets hope Devon Allman is back in Bristol real soon. As the last notes of the encore faded away with, we were all on a live music, Tuesdays just became a Saturday night as no-one was thinking about work the next day we had the uplifting melodies of live music, meeting of friends lingering in a haze of delights from Devon and the band.
You know it was a fabulous night when writing the review the music you choose has to be Turquoise, Ragged & Dirty & Ride or Die. However, good words can be let live music do the talking for you the energy s dramatic, uplifting and the perfect tonic for a Tuesday night in Bristol.
Led Zeppelin Classics Mastered by Violins and more
Tonight, was the juxtaposition of classic rock courtesy of Led Zeppelin favourites with the Heart of England Orchestra, renamed for the UK Tour with Zep Boys Black Dog Orchestra. Tonight the Colston Hall stage had the unusual combination of Marshall Stacks with music stands for strings and brass; with the drummer front and left of stage held within a Perspex cage.
Australian Zep Boys have a passion for Zep’s music and have created something more than a tribute band. Does it work for me a mix of yes and maybe? The Colston Hall audience was definitely won over as they got up and danced and cheered the boys from down under. The lightshow was spectacular and the musicianship superb. For me though there was something missing, the orchestration by Nick Buck was good, but something was missing. What was it? Then it dawned on me it was the freedom of improvisation that a live rock show has that makes live music have that element of danger and interest as the rock on stage goes off-piste.
The thirty-Five piece Black Dog Orchestra added a new dimension of strings, brass and woodwind. The trombones overpowered at times, and more cellos would have given a deeper tonal texture. Upfront was the Zep Boys who knew how to rock with Vince Contario leading with vocals that capture the essence of Robert Plant. Joining Vince were Tzan Niko with a phalanx of guitars including the trademark double neck; bassist Warwick Cheatle and in his cage drummer Bradley Polain, who in 2017, thrity-Seven years after the untimely death of John Bonham found the inner Bonzo in the delivery of Moby Dick. The set list was divided in two halves and there is no doubt that some worked better than others in this experimental format.
The opening of the evening with Black Dog Orchestra, was an intriguing overture and insight into the evening as Black Dog, Stairway to Heaven Kashmir and other snippets flowed out over the auditorium.
The first set highlight was The Rain Song, though it did lose the balladic form with the addition of the orchestra. Ending with Rock n’ Roll the audience were left wanting more; there were a lot of happy Zep fans in the house tonight.
Opening the second set with Kashmir, the combination really worked the sound was balanced and the ethereal sound of the orchestra exploded with a wall of lush strings cascading over the guitar. In the set was Stairway to Heaven another outing for the twin-neck from Nico as was Song Remains The Same. Closing the night with Whole Lotta Love, the audience went wild and there was a lot of love on the room for Zep Boys and Black Dog Orchestra.
The combination was a crowd pleasing winner, proving once again the power of Zeppelin’s songs. Rock is a flexible beast and Led Zeppelin discography certainly met the world of classic instruments front on and came out on top. Yes, the combination of Marshalls and violin stands worked most of the time and certainly the first tour to the UK of Zep Boys combining with Black Dog Orchestra is a success in the eyes of the audience last night in Colston Hall.
Spring sunshine warmed the pavements as the crowds gathered on the street outside the O2 Academy Bristol. The draw tonight was a double hitting rocking with energy delight with Biters opening the cavalcade of music, culminating with Blackberry Smoke. The bands are both label mates and friends so the pairing made sense on many levels to the audience it was the music, quality.
There was a rock n’ roll, retro bite as the band kicked off the night it was full steam ahead for music fun and games. The quartet from Georgia, stepped onto the stage with a step back into the past Norman Greenbaum, Spirit In the Sky. This is a band that have both feet in the 1970’s including a number celebrating the golden age of rock 1975. With the task of warming the crowd, they immediately connected with the Bristol tonight, with a shout out for the gigging venue on a boat we all love where they have played. Thekla the venue where we hear first many a band that become firm favourites, demonstrating the importance of a vibrant and varied landscape of venues in a city. Cardiff, please take note; Womanby Street is a cultural asset!
Now, back to the music with influences flowing through the veins of the music but never clogging the artistry with hints of Cheap Trick, Thin Lizzie and a large helping of T-Rex. Biters, have a forthcoming album due out 19th May on EarAche records; The Future Aint’ What It Used To Be. The superb and ear-catching single from the forthcoming album Stone Cold Love full of T-Rex vibe was part of the opening numbers and we certainly were riding a retro rollercoaster of delight. Fitting in with the southern rock/country rocking vibe Georgia and Gypsy Rose fitted the starter menu perfectly. This is music that entertains. Energetic young band the perfect platform of hooks that caught the vocals and licks that made you shout with joy as the drums pulled the rhythm through every number.
The Bristol crowd was excited and ready for more rock in the form of Blackberry Smoke. Back in Bristol, a band they are road warriors getting their distinctive sound majestic Southern Rock, authentic. They are as they describe themselves Too Country for Rock; Too Rock for Country the sound is a collision of two genres into a crescendo of rock that is full of southern warmth and edgy charm. Tonight Like An Arrow Tour rolled into Bristol, the city music fans appreciated this as the venue was packed from top to bottom. Opening with Fire In The Hole we are ready to put reality on hold and be transported into the land of Blackberry Smoke with the setlist full of songs from the discography covering the whole of the twenty-first century. Yes, Blackberry Smoke are a millennium southern rocking explosion. This is good time rocking music with an edge, the sound permeated through the crowd creating an electric party atmosphere. With Waiting For Thunder from current album having the audience singing and this will be a keeper for a live set becoming a classic. The melding of American music is evident in a number that rocks and Charlie Starr, pulling on the tradition of the holler and the lead break from the keyboard under the guidance of Brandon Still is picked up by the guitar. What a number only five songs in and the venue is steaming with this heavy hollering delight. The music flows with an energy as the southern rock credentials pour through the O2, with Pretty Little Lie. The wonderful southern slide sound from Charlie’s Gibson 335 was a joy to behold, and the keys add that extra tonal layer we are all transported to a special place that live music takes you. There has to be the jam moment, tonight A Sleeping Dog, from The Whippoorwill album is segued with Your Time Is Gonna Come as Zeppelin and Allman’s sounds are pulled into the version tonight. This is the moment when time stands still as the audience is collectively transfixed by the music we are a single entity absorbed and re-vitalised by the cleansing sound of guitars washing the dust away.
Tonight, music is a celebration of the sound of Americana with a willing audience participating in Ain’t Got The Blues, no-one in the audience tonight had the blues the music was a celebration of the positive, feeling good was the result. Another number celebrating the sound of the Acoustic guitar was One Horse Town. All to soon time was catching up the encore left us with a trio of delights. We wanted more, tonight Blackberry Smoke were on top of the game. The guitar harmonies flawless, the percussive rhythm full of edge and the vocals poured out across the auditorium. Closing with Ain’t Much Left, the music had said it all. Live Music rocks with Blackberry Smoke and Biters tonight.
Kaz Hawkins Kicking Up A Music Storm At The Tunnels
Outside as the March wind blew through Bristol, we knew that the hot sirocco of a vocals storm was brewing in The Tunnels as Kaz Hawkinsand her band hit the stage. Kaz is riding on a blues fuelled crest of a wave as she embarks on a mini British tour and they were tight and hot across a set that made us laugh, cry and be awash with the emotional power of live music. Fresh from a solo trip to Nashville and the band reaching the semi-finals of the International Blues Challenge with the U.K. having a band showcasing British Blues for the first time at the event.
Tonight, it was as we all expected a rip-roaring performance from the band who grow from strength to strength. The rhythm section brothers bassist Ján and drummer Peťo Uhrin provide more than a solid base. The rhythms were deep and adding another layer of drama into the mix is the fiery fender displays from guitarist Nick McConkey. His tasty licks and hooks are a feature of the Kaz sound providing the perfect accompaniment for the full-on power of Kaz.
The set was full of firm favourites from her debut album Get Ready and her latest Feelin’ Good with numbers that mix up the blues with funk, country, and Celtic soul, every number sung as if for the first time from the heart. Every song is a special moment for everyone who had turned out to The Tunnels on a Thursday night. Those who missed her tonight in Bristol missed a night of live music fireworks. As Kaz sung Believe With Me, we all believed in the music being delivered this is blues with an extra shot of high-octane energy. As Kaz arranged her signature petticoats as she sat behind the keys to sing This Is Me, dedicated to everyone searching for inner strength and a pray for all of us to love ourselves for who we are. Like all of Kaz’s numbers, the emotions are raw, personal and hit your spine with honesty and soulfulness. Kaz’s songwriting is always aspired by real people, I Saw A Man, about a homeless man Kaz met in London, but always dedicated to Belfast man Norman the intensity of the lyrics are added to by the drumming of Peťo using felted drumsticks, the beat is muffled beating out the endless repeating rhythm as if walking the streets as Kaz narrates the tale hitting the high notes with perfect pitch and howling with pain and then the deep colour of her powerful voice adding to the drama.
Tonight was a time for smiling as well as tears with fans flying in from Belfast and an old friend from school days seeing after a long time no wonder Belfast Time was included in the mix. But Kaz is more than the power of her vocals it is her ability to connect with people. As she shares fears and bad times of her life along with celebration of hitting two out of three life goals, making a career in Music, being a non-smoker both ticked off and now she embarks on becoming fit under the supervision of her personal trainer. Kaz laughs with you and at herself, with a wardrobe failure her hair would not behave, first losing the scarf and then escaping the pins. This is Kaz, a real person who wants you to find the power of life through her songs.
A song that always brings a smile and tonight we all enjoyed singing on Hallelujah Happy People a real highlight of her set as is Feelin Good, a great rearrangement of this classic. With a great emotional lead break from Nick as the first half finished we were all feeling good in the presence of Miz Kaz.
Opening, the second set was a Kaz solo with her acoustic guitar a song she recently wrote in the Bluebird Café in Nashville, The River That Sings. Dedicated to Alabama legend Tom Hendrix and the wonderful stone wall, taking over thirty years to complete in memory of the 600 miles his Great, great Grandmother walked. As the notes faded and the applause filled the venue the boys came back on stage.
Her teenage years were difficult and the cleansing power of the emotional Believe in Me and the songs inspired by ex-boyfriends, Drink With The Devil and Can’t Afford Me put them firmly in their place out of Kaz’s life. We had soul with Soul Superstar and a flick of the legendary petticoats and the wide smile that warms The Tunnels. The night closed with Kaz’s re-working of I Just Want To Make Love To You, and then the encore with Shake that allows Kaz to display the full vocal range and colour of her voice. Kaz Hawkins Kicking Up A Music Storm At The Tunnels as she took her turn on the drums, reaffirming this is not an act to miss.
With the love of Kaz’s warm heart and the power of her vocals ringing in our ears we collectively wish her and the band every success as they go off to The European Blues Challenge in Denmark.
Double Bill of Blues Delights, Kirk Fletcher Then
Memories and the music that is the sound portrait of his father. More Blues within the jazz with a double bill of blues delights, Kirk Fletcher followed by Mud Morganfield. Starting the late afternoon helping of the blues, Kirk Fletcher with Jonny Henderson on Hammond and Matt Brown on drums.
The second trio of the afternoon, again like Robben Ford earlier, there is no bass player. Who needs a bass player when you have Jonny Henderson’s left-hand prowess. For anyone who says the blues sounds the same come and listen to Robben Ford followed by Kirk Fletcher, two trios with the guitarist and vocalist the main attraction, both from the USA; inspired by the roots of the blues from the Cottonfields of the Southern states of America. Kirk Fletcher is more intense dripping in blues licks, soul and emotion. Kirk Fletcher recognised by many as an outstanding blues player, having been lead guitarist for four years with The Fabulous Thunderbirds and as part of the Joe Bonamassa sound. Everyone, who loves the blues was saddened to hear the death of blues harmonica maestro James Cotton, it was no surprise that Kirk dedicated a number to him.
As the afternoon morphed into early evening no-one was running out of the hall as Kirk played Run, Run, Run. With a new album in the pipeline joining his four previous albums, a live one and three in the studio; we had a preview with a number dedicated to Stevie Ray Vaughan a stylish instrumental that blended the trio together. The afternoon set consisted of tracks from his repoitoire made alive with the power and energy of a quality jam as Jonny and Matt took up the blues challenge laid down by Kirk’s dynamic guitar playing. If you didn’t know you would have thought they had played together for years, rather than just for the festival as he heads off to Europe for a tour. The good news is he is back in the UK in the autumn and will definitely be back in Bristol at The Tunnels. The set was smooth a cocktail of blues guitar with a new song included with Kirk exploring the eternal question Wish I Had The Answer. This is blues that is full of the whole palette and warmed the hall up for the second helping on the double bill Mud Morganfield.
As the band supporting Mud filled the stage it was the first harmonica, first bass and first grand piano, as we settled to enjoy the reliving of the blues power of Muddy Waters through his son Mud Morganfield brought up in Chicago by his mother and uncles, his father Muddy was an occasional visitor. He did not take up music despite being surrounded by music growing up until after his father’s death in 1983. Following a dream he decided to swap truck driving to being a professional blues singer with his vocals instantly recognisable in the similarity to downtown finger clicking Chicago blues as Mud Morganfield shared memories whilst creating a sound portrait of his father this is so much more than a tribute it is the reenactment, as near to the real deal as is humanly possible. We also had the first slide guitar of the day and it was deliciously sharp as Mud was dancing to the beat much to the delight of Colston Hall this evening.
The blues were hollered up in every shade with lead breaks and play from all the instruments in turn as hooks for Mud’s vocals as he delivered his father’s catalogue of classics. Mud Morganfield is the legacy that keeps the legend live on stages across the world. We definitely got our Mojo Working, as we met the Seventh Son and left with the Backdoor Man. The musicianship was fantastic and we all left with the soul of Muddy’s legacy ringing in our ears as we moved on to the next act at the Bristol Jazz and Blues Festival.
Making Wednesday Rock at
The Marble Factory
Wednesday night, midweek low, no one informed the loud, enthusiastic Bristol crowd out to party and have fun with live music. Before the main event the stage and Marble Factory was filled with the German duo of The Picturebooks, Fynn Claus Grabke (Vocals, Guitar) and drummer Philipp Mirtschink. Alternative, primaeval with intense drumming and the acoustic guitar amplified. The rock is hard and heavy and the blues deep with very dark rhythms conjuring the dark history behind the blues. This is music that growls with the heartbeat of the drum booming through the venue. Returning to Bristol unsurprising the set was heavy with tracks from their new album Home is Heartache. The duo creating unique textures and tones that are mesmerising drawing you deep into the tribal grind of a combination for dirty acoustic layered with slide and the drumming that is hard and loud from a drum kit with not a cymbal in sight just a ships bell. The rhythms punch with heavyweight intensity on I Need That Oooh with its infectious chorus. With a metallic grandeur, Cactus filled the venue. The set was intense for everyone with Fynn & Philipp drenched in sweat, they really put themselves deep into the rhythmic groove they create and the audience is hot and excited the venue is now definitely ready for a Monster Truck fest.
Once The Picturebooks’, kit was removed from the stage, friends had time to catch up and then Canadian quartet Monster Truck took to The Marble Factory stage to a roar of delight. Vocalist Jon Harvey, centre-stage with his trademark toolbox to rest his foot on, with no monitor posturing he lets the classic rock do the talking. Completing the Monster Truck sound, fun loving hard rocking good-time music are guitarist, Jeremy Wilderman, on keys Brandon Bliss and drummer Steve Kiely. The set was heavy with tracks from the current album Sittin’ Heavy and the earlier Furiosity what a combination, a guarantee for a fun, energising rip-roaring Wednesday.
Opening the proceedings with Why Are You Not Rocking, the reality was the opposite we were ecstatic in the presence of great rock that had everyone jumping, cheering and empowered by music that hit home deep in your musical soul. Classic rock given a modern twist doesn’t get better than this. This is rock that is uncomplicated and honest delivered by a band whose stage presences is warm and the playing is tight and as Monster Truck are having fun playing it would just be stupid not to join in the party they are having on stage. The set rolled on with favourite following favourite the truck was rolling with charismatic power that was controlled, wild and infectious re-energizing as you connected to the music, hands in the air singing along to the words. With The Enforcer full of steely determination recorded it is superb live it reaches another energy level as the iron fist of the track the chorus line pulls the whole audience we want to be enforced by Monster Truck. One of many highlights on the night was She’s A Witch, as Jon Harvey sung, ‘that girls got a demon in her soul’ we all had the demon that is Monster Truck rock in our souls tonight.
The rock was rolling, the audience sang loud and full of pleasure as Sweet Mountain River, we all wanted to be in the city with the truckers tonight. It may be work on Thursday, but time and reality stood still tonight we all wanted them to play on and on through the night. The sheer quality of the set totally blew me away. No wonder tonight Bristol redefined Wednesdays as the new awesome live music night at the Marble Factory. Once again, words cannot do justice to the musicianship and power of live music, get out and see them for yourself you will not regret listening to the classic rock that is Monster Rock, riffing good fun with a tinge of blue.
With an encore of three wonderful numbers closing the proceedings with The Lion. The lion of rock definitely roared tonight thanks to Monster Truck. Come back soon. Monster Truck Making Wednesday Rock at The Marble Factory
Debut EP of a young rough, ready and raw Stone Theory. The opening track, Gaggin’ For It; is rough not in a punk rock way but with a unpolished feel; fuzzy and loud with vocals have a roughness that is not always pleasing to the ear. The harsh metallic rock defines the album and the blues is hinted at in odd lucid moments. Combining metal and blues is a large leap and perhaps for Stone Theory is a leap of faith too far. Learn the genres first get the standard structures in place, then fuse them.
For me. the vocals groan and grind across the whole album. The fifth and final track is the only cover with an unrecognisable metallic Backdoor Man, this would have been the time to stop shouting and show that you understand the essence of the blues.
Stone Theory, a rock band in theory with potential, Debut EP’s are an opportunity to get used to playing in a studio on recording own material and creating style. Stone Theory is a project being built, the Stones are rough-hewn out of granite face, the quartet have yet to let time and confidence polish the edges to emerge as a coherent band. Yes, a young band that has yet to develop a sound that is what the theory is all about, a rock band that is stepping on the ladder and learning the trade. This debut EP will start the building blocks of a fan base.