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Opening day of the baseball season is a frequently used image in the medium of cinema; usually when some old-timer gazes wistfully into space and utters how something reminds him of “Opening day at Wrigley Field, with a hot dog and a beer…”. It conjures up memories of times gone by, times when things were simpler, better, and more enjoyable. Opening day of a tour might not pack the same widescreen imagery of Wrigley Field or Fenway Park, but Joe Bonamassa is doing his damnedest to savor every moment in the build-up to his first overseas tour in over three years, and opening night in a rain-free Glasgow. Call it research, or simply just call it good old-fashioned stalking, but a quick glance at Bonamassa’s social media accounts tracks his movements: Gibson guitar packed, passport ready to go, run-in with airline staff complete, and finally 24 hours later…the all-important photo from Nando’s (sadly, no obligatory airport pic of said passport propped up against a pint in an American version of Wetherspoons). Yes, after three long years (three years in perennial road warrior Bonamassa terms is the equivalent of ten in everyone else’s), Joseph Leonard Bonamassa is doing a Willie Nelson and is on the road again, in a country other than his own.
8 pm sharp, batter up, and the imagery of being back after a few years away continues with the intro music, and using the theme tune to the ‘70s American sitcom ‘Welcome Back Kotter’ is an inspired choice. No perfectly coiffured John Travolta though once the stage lights explode to life; just the suited and booted bluesman Joe Bonamassa and his incredible band of musicians.
Having released two new studio albums during the pandemic – 2020’s ‘Royal Tea’ and the 2021 follow-up ‘Time Clocks’ – Bonamassa would have been excused in putting together a setlist heavily weighted towards both albums, but this is Joe Bonamassa, and he tends to shy away from the norm, instead favoring what he feels works better over the course of two hours of guitar-drenched music. Opening with ‘Evil Mama’ from 2018’s ‘Redemption’ album, Bonamassa quickly settles into his groove and is soon peeling off one seemingly effortless guitar lick after another. In a live setting, Bonamassa material takes on wings and stretches out, in the case of ‘Evil Mama’ keyboard player Reese Wynans takes a solo which has Bonamassa cupping his ears at the crowd in order to cajole them into showing their appreciation of the legendary musician. And that’s something that continues throughout the set; the bandleader making sure that the band members get their moments – especially when second guitarist Josh Smith takes some solos, in particular on a beautiful solo during ‘Love Ain’t A Love Song’. The engine room team of seasoned veterans Steve Mackey on bass, and Greg Morrow on drums are putting on a masterclass performance in how to keep things simple, but effective, and the backing vocals from Jade MacRae (who always gets a warm welcome in Scotland with that surname) and Dani De Andrea help bring a certain quality to the proceedings and create an atmospheric vibe at times.
Despite confessing that he is “officially jet-lagged as fuck!”, and to excuse him if he has messed up at any point, Bonamassa’s stunning playing has the more studious fans in the audience drooling with delight; none more so than when during a towering performance of ‘Ballad of John Henry’ Bonamassa beckons the seated crowd to get out of their seats, and the front few rows are more than happy to oblige by breaking free from the confinement of rows of seats and rush the front of the stage. Nope. Not happening, and security is quick to shepherd them back to their seats where they will stand in defiance for the remainder of the set. ‘Ballad of John Henry’ provides arguably the standout moment of the set (although a cover of Gary Moore’s ‘Midnight Blues’, and new tracks such as ‘The Heart That Never Waits’, ‘ I Didn’t Think She Would Do It’, and ‘A Conversation With Alice’, along with Bonamassa staple ‘Sloe Gin’ run it close), a lengthy version that thanks to some hair-raising vocalizing from MacRae and heavy-ass playing from Bonamassa borders on Zeppelin territory (and not just because Bonamassa breaks out the theremin), it could have run for five more minutes, and no one would have complained. Utterly sublime.
No one needs reminding of Bonamassa’s guitar-playing prowess, a “jet-lagged as fuck” Bonamassa still has more tricks and licks up his sleeve than most guitar players, but one thing tonight sticks out more than usual: his vocals have grown in stature quite considerably. He might be suffering from sitting up to 08:30 am “…watching a Doctor Who marathon on the BBC,” but his vocals, especially on the more recent material, get stronger day by day. Find out for yourself at one of Joe Bonamassa’s remaining tour dates. And pay attention for THAT version of ‘Ballad of John Henry’ – otherworldly.
Remaining UK tour dates can be found on the tour poster, below.
Cardiff Motorpoint Arena Friday 22 April 2022
Brighton Centre Saturday 23 April 2022
Royal Albert Hall, London Thursday 5 May 2022
Royal Albert Hall, London Friday 6 May 2022
Tickets are available from www.ticketmaster.co.uk, www.planetrocktickets.co.uk and www.jbonamassa.com.
Review – Dave
Photo credits:
Front cover – James Edmond
Top image – Gary Cooper
Second image – Eleanor Jane
Bottom image – Kirk Lothian
All images supplied by Noble PR
