Foo Fighters, Perry Farrell + More to Play ‘Rock ‘N’ Relief’ Live

The music world continues to chip in where possible to help in Covid-19 relief efforts and the latest example of that is an upcoming “Rock ‘N’ Relief” livestream concert featuring some of music’s biggest names. Singer/songwriter Linda Perry is curating the event, which will feature Foo Fighters, Perry Farrell, Gavin Rossdale, Sammy Hagar and a host of other name acts assisting the CORE (Community Organized Relief Effort) organization.

Though official dates have yet to be announced, the livestream event is expected to take place over the course of two days featuring a mix of virtual and live performances. Among those in the rock world taking part are the previously mentioned Foo Fighters, Perry Farrell, Gavin Rossdale and Sammy Hagar along with Silversun Pickups, L7, Frances Lion, Juliette Lewis and the Licks and more.

Other participating acts of note include Sheryl Crow, Deadmau5, Jewel, Tracy Bonham, Carly Simon, James Blunt, Ziggy Marley, K. Flay, Dawes, Gary Barlow, Shaed, Ozomatli, Miguel, Macy Gray, Aloe Blacc and Perry herself, who will also co-host alongside KROQ and SiriusXM’s Kat Corbett.

“Our critical mission within this moment of the pandemic is to provide equitable relief services to our local community, and we rely on donations to continue our efforts,” said CORE’s co-founder and CEO Ann Lee. “We are thrilled that Linda Perry has curated such an amazing group of artists to support our cause and bring comfort and joy to people in this time of hardship.”

“As a mother and fellow member of this community, I wanted to do something to lift spirits and send a positive message of hope and humanity to all the healthcare workers and those on the front lines, as well as raise awareness and funds to support CORE and their relief efforts,” said Perry. “When I first put the word out, many jumped on board to contribute; we had over 150 bands submit to play. We are pleased to announce that California Love Drop and Monty’s Good Burger will provide food and beverages to all the digital workers that will be working hard to bring this powerful content to the viewers of this impactful concert series. Our goal is to do everything we can to thank CORE and the self-sacrificing people who keep us safe during this unprecedented crisis.”

Perry and CORE are working with Amazon Music to stream the concert live on the Amazon Music mobile app, and through the Amazon Music Twitch channel while YouTube and Rolling Stone will also stream the event. Stay tuned for the concert airdates.

50 Best Hard Rock + Metal Live Acts

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Head: Why Korn Don’t Like Encores But Still Play Them Anyway

The concert encore is nearly guaranteed at any show you attend (well, back when shows were still a thing, at least). What was once a courtesy extended to the most rabid fans who clamored for more after the set had finished is entirely commonplace and Korn guitarist Brian ‘Head’ Welch has opened up on why the band isn’t fond of the practice.

“We never have been an encore band,” Head said as a guest on the “Bringin’ It Backwards” podcast (audio below, transcription via Blabbermouth).

Expressing how the band has a conflicted view of the encore concept, Head continued, “We would debate about it, saying, ‘It’s so cheesy, man. It’s so cheesy. They want it so bad, but…’ We don’t do encores. We would tell people in the press, ‘We don’t do encores. We give it our all, and then we’re done.'”

Even though it was by design to play one full set and be done with the show, it didn’t go over well with fans, who ultimately swayed Korn in the other direction.

“And then fans started getting mad, especially fans in different countries. They’re, like, ‘It’s disrespectful if you don’t come back out.’ So we had to do it,” relayed the guitarist.

Part of the band’s mindset comes from the fact that the encore is now fully expected by concert audiences, rather than fans screaming and cheering for more.

“And to this day, we don’t really love it because everybody expects it and they don’t really cheer for it now. They’re just, like, ‘Okay.’ … You want be done and then the crowd to demand you back out with applause. That’s what the encores were meant for. But that’s all gone to shit now,” Head lamented.

Korn’s last live was played on March 1 in Fresno, California as they concluded a co-headlining run with Breaking Benjamin. The four song encore that night, per setlist.fm, was comprised of “4 U,” “Twist,” “Coming Undone” (with a snippet of Queen‘s “We Will Rock You”) and “Falling Away From Me.”

Although the touring industry shut down worldwide just a couple weeks after that tour wrapped up, members of Korn and Breaking Benjamin continued their work together as Head and Jasen Rauch reunited their Love and Death band. The group dropped Perfectly Preserved, their first since the 2013 Between Here and Lost debut.

Brian ‘Head’ Welch on the ‘Bringin It Backwards’ Podcast

The Top 50 Korn Songs

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Dropkick Murphys Announce Free St. Patrick’s Day Livestream

Crowd or no crowd, nothing will stop the Dropkick Murphys from performing on St. Patrick’s Day. The onset of a pandemic forced the band to pursue a livestream alternative last year and, since the world is still reeling from the impact of the coronavirus, the Massachusetts-based band is set to help you celebrate the Irish holiday from the comfort of your own home.

The announcement of the ‘Dropkick Murphys St. Patrick’s Day Stream 2021… Still Locked Down’ event comes one week in advance of details pertaining to the band’s forthcoming record, which will be their first since 2017’s 11 Short Stories of Pain and Glory.

Fans will be able to watch the livestream on March 17 for free, though donations are greatly encouraged to help with costs for the band’s crew and a portion of the funds raised will have charitable benefits as well.

“Instead of charging for tickets, we’re going to ‘pass the virtual hat’ so you can donate what you’d like to help support us in our efforts to keep paying our employees,” said Dropkick Murphys founder Ken Casey. “When we did the first two free livestreams for charity, our fans were super generous and we raised lots of money for good causes. But frankly, we’ve been out of work for over a year, so this one, we’ve gotta make about us. Of course, a portion will also go to charity, as always!”

Dropkick are set to hit the stage at 7PM ET / 4PM PT. Tune in live on March 17 at this location.

Dropkick Murphys: St. Patrick’s Day Livestream Flyer

Dropkick Murphys

2021’s Most Anticipated Rock + Metal Albums

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Rock + Metal Virtual Performance Streaming Calendar

Updated Feb. 12

If you’re missing out on concerts and festivals because of cancelations over the coronavirus, you’re not alone. The live entertainment industry is taking a pretty big hit due to the illness, but musicians are coming together all over to put on streamable live performances for their fans in the meantime.

Dave Grohl and Billie Joe Armstrong have hosted concerts from their living rooms, where they play the classics everyone loves. Whether it’s an online festival in a game or a Facebook live, there’s something for all rock and metal fans alike. Some organizations and labels will be even be hosting a different artist every week.

We have compiled a list of virtual performances you can stream throughout the coming weeks while you continue to quarantine, and will update as more come up. Some will be recurring on a weekly basis, while others are one-time events. See them all below.

Enjoy, and stay safe!

Crush Coronavirus by Washing Your Hands to These Rock + Metal Songs

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Hall and Oates Confirm Rescheduled 2021 Tour Dates

Hall & Oates confirmed their upcoming 2021 tour schedule, rerouting the remaining dates that were previously postponed due to the COVID-19 pandemic.

The band’s North American trek is currently scheduled to kick off April 17 in Indio, Calif., and continues April 23 in Honolulu; April 25 in Kahului, Hawaii; and May 21 and 22 in Mashantucket, Ct. Their stint featuring openers Squeeze and KT Tunstall commences Aug. 5 in Mansfield, Mass., and wraps Oct. 5 in Mountain View, Calif. The band’s Oct. 7 stop in Portland, Ore., features only Tunstall.

You can see the dates below. Full ticket info is available at the band’s website.

John Oates dismissed two popular touring strategies in a 2020 Rolling Stone interview, saying he doesn’t like the idea of full-album or “farewell” runs. “I don’t think we’d ever do a farewell tour,” he said. “Every farewell tour I’ve ever heard about didn’t turn out to be a farewell tour, so I don’t know what the hell that means. Sure, if it’s a marketing ploy, hey, why not? Everyone needs a hook. Everyone need a shtick. Whatever.”

In that same interview, the guitarist noted that Hall & Oates had entered the “early, preliminary days” of a new LP, with Daryl Hall working in Europe with “some young producers he’d getting kind of energized with.”

Hall then followed up on that comment in April with UCR, saying he’d worked on seven songs with Dutch producer Jett Rebel, whom he’d met while in Holland playing a festival.

“He literally just came up to me and said, ‘Hey, man, I’m a giant fan of yours,’ and we just started talking,” Hall said. “He gave me a CD of himself, and I went back and went online and listened to what he was doing, and I went, ‘This guy is really good.’ I started contacting him and we had email conversations.”

Hall also noted that he’s been “channeling himself” on his latest music: “I think of my own catalog and my own songs, and that can go a lot of different directions.”

Hall & Oates 2021 Tour Dates
April 17 – Indio, CA @ Fantasy Springs Resort Casino
April 23 – Honnolulu, HI @ Neal S Blaisdell Center
April 25 – Kahului, HI @ Maui Arts & Cultural Center
May 21 – Mashantucket, CT @ Foxwoods Resort Casino
May 22 – Mashantucket, CT @ Foxwoods Resort Casino
Aug. 5 – Mansfield, MA @ Xfinity Center
Aug. 7 – Philadelphia, PA @ HoagieNation
Aug. 9 – Gilford, NH @ Bank of New Hampshire Pavilion
Aug. 11 – Wantagh, NY @ Northwell Health at Jones Beach Theater
Aug. 13 – Holmdel, NJ @ PNC Bank Arts Center
Aug. 15 – Saratoga Springs, NY @ Saratoga Performing Arts Center
Aug. 17 – Cuyahoga Falls, OH @ Blossom Music Center
Aug. 19 – Noblesville, IN @ Ruoff Music Center
Aug. 21 – Clarkston, MI @ DTE Energy Music Theatre
Aug. 23 – Cincinnati, OH @ Riverbend Music Center
Aug. 26 – Tinley Park, IL @ Hollywood Casino Amphitheatre
Aug. 28 – Milwaukee, WI @ American Family Insurance Amphitheater
Aug. 30 – St. Paul, MN @ Xcel Energy Center
Sept. 1 – Denver, CO @ Ball Arena
Sept. 16 – Toronto, ON @ Budweiser Stage
Sept. 18 – Columbia, MD @ Merriweather Post Pavilion
Sept. 20 – Tampa, FL @ MIDFLORIDA Credit Union Amphitheatre
Sept. 22 – Hollywood, FL @ Seminole Hard Rock Hotel & Casino
Sept. 24 – Alpharetta, GA @ Ameris Bank Amphitheatre
Sept. 26 – The Woodlands, TX @ The Cynthia Woods Mitchell Pavilion
Sept. 28 – Fort Worth, TX @ Dickies Arena
Oct. 1 – Hollywood, CA @ Hollywood Bowl
Oct. 3 – Chula Vista, CA @ North Island Credit Union Amphitheatre
Oct. 5 – Mountain View, CA @ Shoreline Amphitheatre
Oct. 7 – Portland, OR @ Moda Center

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Blues Heaven in Frederikshavn 2019: Video, Photos

Post Views: 9,752

Holy Week 1-3. November 2019 was the world-class blues in Frederikshavn. Arena Nord was the venue for Denmark’s biggest blues festival, Blues Heaven. The concerts took place on three stages:

The big stage, Arena Stage, a slightly smaller one named Stage 2 and the small café stage, Acoustic Stage. Among the headliners was Shemekia Copeland (pictured).

Blues Heaven in Frederikshavn
Shemekia Copeland at Blues Heaven in Frederikshavn.

The concerts on the two biggest stages took turns with about a 15 minute break so the audience could move from one to the other. If you also wanted to hear the music on Acoustic Stage, you had to make some choices, because here there was overlap in the program. Traditionally, the festival also had a detour to the local venue Freddy’s Bar, and also Frederikshavn Church got a musical visit this time.

The festival was the third of its kind under the name Blues Heaven, but it is a continuation of the Frederikshavn Blues Festival and – before that – Djurs Bluesland. Therefore, Blues Heaven 2019 could also mark the 30th anniversary of Peter Astrup Blues Productions, which was also celebrated from the stage with cake and “happy bluesday” song.

Curtis Salgado

Paul Benjamin – director of The Blues Foundation – welcomed the festival’s first name at Arena Stage, the American blues and soul singer Curtis Salgado. Salgado is known both as a vocalist and a harmonica, but we did not hear much of the harmonica in the concert which consisted of caressing, delicious southern soul and soul blues. Curtis Salgado is a formidable singer, and with a strong and well-played band in his back he opened the festival program in the best way. We also especially noticed guitarist Alan Hager, who with his icy, Albert Collins-like tone wrapped Salgado’s vocals in delicious and elegant licks. But also French Julien Brunetaud on electric piano and organ made a really good figure.

After the opening song “Low down dirty shame” from Curtis Salgado’s Blues Music Award-winning 2017 album, The Beautiful Lowdown, the blow section The Bender Brass came on stage. Baritone saxophonist Mark Earley, trumpet player Doug Woolverton and tenor saxophonist Jimmy Carpenter complemented Bobby Parker’s “Blues get off my shoulder”, which perfectly staged Salgado’s great voice.

Curtis Salgado. (Photo: Frank Nielsen).

Chris Cain (Photo: Frank Nielsen).

Chris Cain Band

On the first day of the festival, Stage 2 experienced American guitarist Chris Cain and his band. Paul Benjamin presented Chris Cain as “one of the best kept secrets in the United States”. Despite numerous Blues Music Award and other nominations, as well as twelve fine albums behind him, Chris Cain may not be the best known blues-with-more artist.

However, Chris Cain (guitar / vocals), Sky Garcia (drums), Greg Rahn (keyboards) and bassist Steve Evans played through a distinguished, compelling and varied set in front of a diverse audience, where the four musicians truly proved to be a well-functioning unit . The bandleader was also not afraid to praise his fellow musicians several times during their ten-song set, where everyone contributed fine games and good solos. “I love this band,” Chris Cain said, and the playing fun shone through the entire quartet.

Chris Cain is known as one of the world’s foremost B.B. King interpreters, and his skills are documented on the fine album Cain does King from 2001. Also this evening came B.B. The King spirit over Cain several times, for example in a bold edition of B.B. King’s “Sweet Sixteen”. Furthermore, Chris Cain was good at making B.B. King grimaces, so it almost seemed like B.B. King was present in Arna Nord.

Chris Cain also listened to Albert King heard in a rousing version of “Crosscut saw” with biting guitar tones. We also heard Chris Cain on Mississippi Keys Fred McDowell’s “What’s going to become of me?” We also got several Chris Cain tracks like “Drinking straight tequila,” which ironically presented as “a tender love song,” to in spite of the fact that this was in full force.

Chris Cain has also been involved in jazz, which could be heard several times.

Blues Heaven i Frederikshavn

Blues Heaven i Frederikshavn

Shemekia Copeland

Blues Queen Shemekia Copeland is the daughter of legend Johnny Copeland, and his spirit floated over the waters in much of her concert. She gladly acknowledged her musical heritage and sang several songs from her father’s repertoire, such as “Circumstances” and “Ghetto child”.

Shemekia Copeland has long since established her own name, and not least her latest album, the award-winning America’s child (2018), has cemented Shemekia Copeland’s status as one of her generation’s most important blues singer. From here we got several songs, and the strong and often political lyrics made Shemekia Copeland’s a different listening experience than most of the festival’s other concerts. “Ain’t Got Time for Hate” opened the set, quickly followed by “Would you take my blood?” Shemekia was charming and sang wonderfully, and she was backed by good people on stage. In particular, we noticed the two guitarists, Arthur Neilson and Willie Scandlyn, who both did really well.

Shemekia also used The Bender Brass, which came on the scene of John Prine’s swampy “Great Rain”, and also provided plenty of soul-sound to the Johnny Copeland songs. Not least, Doug Woolverton’s trumpet solo on “Circumstances” helped make this one of the highlights of the set. “Big brand new religion” got the mood of the southern state church before Shemekia Copeland ended with a rousing version of her hit, “2 a.m.” with lots of slide guitar from Willie Scandlyn.

Mike Sanchez (Photo: Frank Nielsen).

Mike Sanchez, Acoustic Stage

On the evening of the first day of the festival, you could enjoy the English keyboardist and singer Mike Sanchez, who was announced solo on the Acoustic Stage. Mike Sanchez appeared alone with a twinkle in his eye. One should be in a bad mood at all so as not to pull on the smile band several times during this eminent piano man’s performance.

Mike Sanchez is a bit of an institution on the English music scene. He has had his own bands like Big Town Playboys and was a member of Bill Wyman’s Rhythm Kings. Sanchez has the technique in order and he can really conjure up any assembly. He also did that night. We got rock & roll, rockabilly and boogie-woogie spiced with a splash of blues, so it was a real pleasure. Among other things, he performed “Blueberry Hill” and “ready ready”, and the large audience spontaneously clapped on several tracks. After a while, Mike Sanchez did not play solo anymore, for British harmonist Paul Lamb came on stage, and the duo played Slim Harpo’s “Shake your hips” to the great excitement of the audience. Another Brit – bassist Dave Stevens, who played several years more with Paul Lamb & the King Snakes – then joined. It was the first time this spontaneous trio played together, but everything went smoothly. A very positive experience

Curtis Salgado & Alan Hager, Acoustic Stage

Curtis Salgado is a masterful soul singer, but he is equally at home in the traditional blues. Salgado and Hager played an outstanding intimate concert featuring down-home blues with Chicago and Delta variants. Alan Hager sang “Somebody’s Been Using That Thing” – a hit for Big Bill Broonzy and his Hokom Boys in 1929 – but otherwise Curtis Salgado stood for the vocals. In contrast, in the duo format there was just as much focus on Alan Hager’s guitar playing, and it was exciting to observe the elegant style of the techniques.

Kenny Wayne Shepherd (Photo: Frank Nielsen).

Kenny Wayne Shepherd Band

The last name on Arena Stage on the first day of the festival was American blues guitarist Kenny Wayne Shepherd. Kenny Wayne Shepherd’s great source of inspiration is Stevie Ray Vaughan. That’s why it’s fitting that Chris Layton of Stevie Ray’s Double Trouble is the Kenny Wayne Shepherd Band drummer.

Besides Kenny Wayne Shepherd and Chris Layton, vocalists Noah Hunt, bassist Kevin McCormick and Joe Crown were heard on keyboards. The band was even reinforced with scissors and trumpet.
The band played a number of songs from different eras in the band’s career. Among other things, we got the blues song “Shame, shame, shame” from 1995. Here even a guest came on stage in the form of fourteen-year-old English “Wunderkind” Toby Lee, who contributed an ok guitar solo, while the vocals were taken care of by Noah Hunt.

Speaking of vocal work, we got Kenny Wayne Shepherd on vocals – and Noah Hunt on acoustic guitar – in “Blue on black” from the album Trouble is… (1997). However, Kenny Wayne Shepherd should stick to what he can, namely playing guitar, as in the Joe Walsh and Terry Trebandt composition “Turn to stone” from the 2019 album Traveler. Here, too, there was good cooperation between Shepherd and Hunt. The concert ended with the Jimi Hendrix classic “Voodoo Chile” as an extra number.

Toby Lee at Freddy’s bar. (Photo: Frank Nielsen).

Toby Lee Blues Band, Freddy’s bar

The second day of the festival began with dinner blues at Freddy’s Bar in downtown Frederikshavn. Here, the English Toby Lee Blues Band played, a young, sympathetic band with 14-year-old Toby Lee as band leader. The young talent Toby Lee has almost been a kind of mascot for Blues Heaven since he first performed at the festival in 2017, just twelve years old.

The Toby Lee Blues Band played through ten songs, which consisted primarily of heavy, instrumental blues rock, and that band should have adhered to, because vocally there wasn’t much to gain from Toby Lee, whose natural voice sounded like a fourteen-year-old voice. He has an indisputable talent, but he needs more time to mature.

The Toby Lee Band has an album ready for release in early 2020.

Joe Louis Walker

Rightfully the winning American guitar legend, singer and songwriter Joe Louis Walker is a bit of a blues institution and a great ambassador for the style. He has performed all over the world, has played with a myriad of other great blues names, such as John Lee Hooker, Jimi Hendrix, B.B. King, Taj Mahal and James Cotton.

The opening number was the rocking, swinging Joe Louis Walker composition “Not Not Messing Around” from the 1998 album Preacher & the President. Then the level was laid and it held with a few exceptions. One of these was a mysterious version of the classic “The train kept a-rollin”, which was delivered in a strangely jazzy version with lots of chorus, which didn’t work very well. The same must be said about the few times that pop-like elements crept into the music. Otherwise, it was a really impressive instrumental and vocal work that was put to the day by an engaged band that brought an enthusiastic audience along.

Above: Kenny Wayne and Joe Louis Walker. Under Tad Robinson and band. (Photos: Frank Nielsen).

Tad Robinson

American blues and soul singer Tad Robinson took the stage, Stage 2 in Arena Nord, with his band composed for the occasion. In addition to Tad Robinson, the band consisted of vocals and harmonica by a bassist, a drummer, a keyboardist and a guitarist. Tad Robinson had brought his old mate, super guitarist Alex Schultz from the US. Alex Schultz played bl. a. with Rod Piazza for several years and with the late drummer William Clarke. Interestingly, both the bassist and the drummer were Finns. Jaska Prepula plays daily in the Finnish Tomi Leino Trio. Kevin Anker was on loan from The Fabulous Thunderbirds. All the musicians made a good figure, both individually and collectively, and a well-attended audience welcomed the fat soul blues.

Thornetta Davis

There are many who believe that every blues festival should have its blues diva, and this year Blues Heaven had American Thornetta Davis from Detroit (pictured above). Not only is she a blues diva; she is also the blues and rhythm & blues diva. She has won more than 30 Detroit Music Awards.

Thornetta Davis has a wide-ranging voice, and together with the musicians she really “kicked” things off the stage. We got a nod to Muddy Waters with the classic “Got my mojo working” in a nice edition with good choral work. From Honest woman we got the rocking “I need a whole lot of lovin ‘” (to satisfy me), swinging soul-rock in the title song “Honest woman” and gospel-like notes in “Get up and dance away your blues”. We also received an enchanting version of “Pretty good love”, made famous by Big Maybelle in 1956. With great effort from all the musicians, Thornetta Davis delivered a versatile, high standard concert that will be remembered with the delight of an engaged audience.

Ian Siegal

English guitarist, singer and songwriter Ian Siegal played on the acoustic stage on Saturday. “I can also be hired for children’s birthdays,” he joked, for Ian Siegal was entertaining – absolutely – but he certainly wasn’t for kids. At least the kids had to be tuned into dark, political lyrics like “Eagle Vulture” (from his latest album, All the rage (2018)) and remarks like “I’m already sweating like a whore in church!”

Ian Siegal’s songs were intense. His airy, hoarse, almost half-whispering voice contrasted with the deep delta blues of the model Charley Patton’s “Pony blues” or his own “I am the train”.
His musical expression is versatile, and his set contained blues, folk and spirituals. From the latter category, it took off especially when he played “Mary Do You Weep”. Siegal had heard that the Danes knew the song with a different text, and so at his request it was screamed “Oh Marie, I want to go home to you” with full neck.

Another fun feature was his “Talkin ‘overseas pirate blues”, a talking blues in the Woody Guthrie tradition. (The picture below).

Top: Ian Siegal. Sub: The Fabulous Tbunderbirds. (Photos: Frank Nielsen).

The Fabulous Thunderbirds

The concert with The Fabulous Thunderbirds was met with excitement. There have been some changes in the cast since we last heard them, but as always, the central singer and lead singer Kim Wilson was in the front. The only other remaining was guitarist Johnny Moeller, and fortunately both seemed intent on delivering something better than what we heard in Horsens nine years ago.

The Fabulous Thunderbirds started with “My babe”, not Little Walter’s Chicago classic, but the 1959 hit with Ron Holden with the Thunderbirds (!). The band styled themselves around funky blues rock (“Wrap it up”) and boogie, slow blues with fine guitar playing by Johnny Moeller, and not least steamy hot Chicago blues. Here, Kim Wilson could really show why he is considered one of the very best living harmonists. His metallic, old-school harmonica style imitated the sound of Chicago’s heyday. Kim Wilson – the band’s only original member – was in good shape and danced almost throughout the concert while singing and playing harmonica. Guitarist Johnny Moeller was also in fantastic shape and behaved as if he were really at one with the music. He obviously could play anything, and he did it with body and soul so it was a real pleasure.

The Fabulous Thunderbirds was one of the top names on the Blues Heaven poster and one of the bands many had been looking forward to hearing.

Kenny “Blues Boss” Wayne, Acoustic Stage

Pianist Kenny “Blues Boss” Wayne has stated that he “aims to bring the keyboard into the spotlight of blues music so it doesn’t disappear between all the guitars.”

It was an extremely well-mannered Wayne, who with small anecdotes and big smiles served dishes from the entire piano blues menu: Boogie-woogie, country ballads, New Orleans-R&B, swing, gospel, barrelhouse – we got to taste it all. Kenny “Blues Boss” Wayne looked like someone who could stay up all night.

Along the way in Leiber & Stoller’s “Kansas City,” the ubiquitous Paul Lamb appeared; he was invited to the scene and promised to come back later. He did that seriously, and he signed in and started playing harmonica on Hoagy Carmichael’s “Georgia (on my mind)”. Paul Lamb stayed on stage for 6-7 songs. They played, among others, Johnnie Johnson’s “Tanqueray”, the spiritual “Down by the riverside”, the recently deceased New Orleans legend Dave Bartholomew’s “I hear you knocking” and a (well almost blasphemous) medley with “Got my mojo working” and ” Oh happy day ”!

Nick Moss Band

Chicago has nurtured a sea of ​​outstanding blues musicians, and guitarist, singer and songwriter Nick Moss comes in among the best of the last 30 years. Nick Moss and his various bands have been showered with awards. The band that Nick Moss put on at Blues Heaven this year besides himself consisted of the relatively recently arrived Dennis Gruenling on harmonica, Taylor Streiff on keyboards, Patrick Seals on drums and Rodrigo Mantovani on bass. An absolute super band.

Nick Moss & co. played through seven songs on Stage 2. Among other things, we got the almost Louis Jordan-like title track from the latest Nick Moss Band album Lucky Guy. We were also treated to a very, very long version of Billy Boy Arnold’s “I wish you would”.

Here Dutch Big Pete came on stage and together with Dennis Gruenling gave a long harmonica performance.

The last song was the Jimmy Rogers composition “Rock this house”. Big Pete, who had been there before, returned to the scene. Along with Big Pete, British guitarist Ian Siegal also came in as a guest. However, despite the many qualities of the musicians and the music, there were too many idle blues during the concert, which was unfortunately disappointing.

Above: Nick Moss. Subs: Dennis Gruenling. (Photos: Frank Nielsen).

Nick Moss Band, Freddy’s Bar

It was quite different when the Nick Moss Band played on Freddy’s Bar on Sunday, November 3rd. Here things were held in much tighter bridges than the night before on Stage 2. The songs were shorter and more concise than at the band’s first performance at the festival. However, Freddy’s Bar also had room for improvisations. On the other hand, they never got too long, and the band’s distinctive energy level did not in any way lose its momentum.

There were also guests at the scene this early afternoon. Curtis Salgado made his entrance, as did Paul Lamb, who joined the Americans on stage. The mood was high on the small stage at Freddy’s Bar, and the harmonica virtuoso Dennis Gruenling danced almost continuously with his white snakeskin-like boots on.

One of the festival’s most touching moments also occurred at this concert when Nick Moss, before the extras – sitting on the drummer’s chair – shared his memories of his friend and former band member Mike Ledbetter, who died as suddenly as just 33-year-old in January this year. It brought tears to many of those in attendance, including several who had experienced Ledbetter in Frederikshavn the previous two years with Kilborn Alley Blues Band and Welch Ledbetter Connection respectively.

The closing song “The comet”, which Nick Moss wrote about Ledbetter right after his friend’s death, was a nice and touching ending to a first-rate concert at Freddy’s Bar.

Gospel Heaven, Frederikshavn Church

Festival organizer Peter Astrup had included the Sunday event Gospel Heaven in the program. As Blues Heaven gathers a number of blues superstars, many of whom have roots in gospel music, it became a concert with mainly religious repertoire in Frederikshavn Church. Peter Astrup welcomed, before Joe Louis Walker on guitar and vocals performed a solo performance of “Not tired yet”. The next singer was Tad Robinson, who was backed by Bl. a. Alex Schultz and Nick Moss Band’s bassist, Rodrigo Mantovani.

Curtis Salgado started a cappella and without a microphone. He first praised the gospel music as “the mothership of blues, soul, jazz, funk …,” and then he sang the gospel song “He did it all by himself”. Eventually Kenny “Blues Boss” Wayne and the rest of Joe Louis Walker’s band came in, and Walker himself joined in with funky guitar playing on “Let’s get down”.

Thornetta Davis received great acclaim after a festive “This little light of mine” with blown action by Jimmy Carpenter, Doug Woolverton and Mark Early. A subdued version of Percy Mayfield’s “Please Send Me Someone To Love” with keyboard accompaniment by Kenny “Blues Boss” Wayne rounded out Thornetta’s Davis’ section in a nice way, before the IDMC Gospel Soul Choir ended with three songs.

Gospel Heaven was really a good idea on paper, and with so much talent present, the event had a huge potential. But the big, big problems with the sound made the church concert a disappointment. If Gospel Heaven is to be repeated next year – and there are many indications that it should – it must work with the sound, and perhaps it should be considered whether to adhere to acoustic instruments and to acoustic singing, – a set designed by the church to endure.

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Success for Norwegian Blues in London: Video, Photos

Post Views: 9,673

The weekend of November 8-10, the Norwegian blues community celebrated itself in a large-scale blues invasion of London.

The finale was in the very large parlor of concert venues in London, and perhaps in the world, namely the Royal Albert Hall. And what a brilliant weekend it was! Both artists, organizers and the audience beamed about the race after the final note died out on Sunday night. The Norwegian Blues Adventure delivered tremendously!

Success for Norwegian blues weekend in London

To achieve something like this, you need a man with big and crazy ideas, as well as a dedicated team that can put your dream to life. Long-time player in the Norwegian blues community, Eric Malling, had the idea, and the company Koment, Norwegian Blues Union and many volunteers provided the implementation.

Blues in church

Friday night there was a blues concert for the Norwegian Seamen’s Church in London. Eric Malling visited London on May 17 to promote the event for London-resident Norwegians. That trip led to a good relationship with the people at Seamen’s Church, so why not start right there?

Suksess for norsk blueshelg i London

Suksess for norsk blueshelg i London

The Seaman’s Church in London is located in the Bermondsey area, and is an important point of reference for Norwegians living in London. The small church turned out to house a nice lounge area, and further into is the church room itself. The atmosphere was very nice and the crowd was a mix of visiting blues fans and locals. The music this evening, the duo Jolly Jumper & Big Moe and Reidar Larsen, together with Arne Skage, stood for. They each did their own section before finishing with Mahalia Jackson’s Go Tell it on the Mountain.

And it is almost needless to mention that the evening ended with the venue being sold out for beer!

Jolly Jumper & Big Moe at the concert at the Seamen’s Church in London. (Photo: Per Ole Hagen).

Vorspiel on Subterania

Saturday was the day before the day, and as it should be heard and should be time for vorpiel. This evening it was the Norwegian Blues Union that was responsible for the program and the event, which was held at the Subterania rock club in the Portobello area. There were two concerts that day, both at 4pm and 8pm, with the same program.
In the first part of the concert, this year’s union band, Maldito, played before Pristine, Reidar Larsen with band and Eric “Slim” Zahl & The South West Swingers were in the fire. In the second part of the concert was Notodden Blues Festival Roadshow husband, while various artists guest on stage. In turn, J.T. Lauritsen, Daniel Eriksen, Hans Bollandsås and Helene Misund, Trond Ytterbø, Åste Sem, Spoonful of Blues and Joakim Tinderholt.

Chaplain Jostein Forsberg made sure to tie it all together effectively.

For us in the audience it was a fantastic concert, with a lot of varied music. The exchanges between the artists went fast, making sure people didn’t lose the mood and thread along the way. The room was good, with stands down in front of the stage as well as a gallery with both standing and seating upstairs.

On stage at Subterania: Arne Skage, Morten Omlid, Joakim Tuinderholt, Jostein Forsberg, Tony Caddle and Daniel Eriksen. Below: Jostein Forsberg tied together the many musical elements. (Photo: Per Ole Hagen).

Pristine delivered a sparkling performance. (Photo: Per Ole Hagen).

Well back at the hotel, no one would go to bed, and we are not surprised if turnover records were set at the bar in the early night. The delicious blues caramel we had all wanted to suck a little extra time on!

Norwegian show in London’s Great Hall

As Åge (Aleksandersen) sang in his big hit from 1975, it is far back to the Royal Albert Hall for Norwegian bands. Sunday night in London broke this myth as Norwegian musicians entered the prestigious stage and delivered a concert night that will not be overstated at first.

Royal Albert Hall was erected in memory of Queen Victoria’s husband, German Prince Albert. Victoria loved her husband dearly and was crushed when he died in 1861, just 42 years old. For the rest of her life, Victoria wore mourning clothes. The hall was inaugurated in 1871, and nothing should be saved during the construction. Even today, the concert arena is sensational. The stage is framed in deep red velvet, as well as seats at several heights. There was also seating on the floor in front of the stage.

Around the hall there are walkways all around, and on the walls you can see pictures from live performances in the hall. There is pomp and splendor for all the money, and a very beautiful hall. Most of the audience came early, and took the opportunity to look around and visit one of several bars.

Initiator of the big event in London, Eric Malling, thanks the audience and artists from the scene. (Photo: Per Ole Hagen).

Eric Malling had pulled in the fine station for the occasion, posing in sober tuxedo, which was just right. He welcomed Royal Albert Hall and The Norwegian Blues Adventure, and was probably influenced by the moment. He left the stage to Vidar Busk, who, wearing newly purchased white suit from Camden, started tonight’s show with his song I Came Here To Rock – and then the fun started.

Amund Maarud served as chaplain this evening and was also constantly watching and listening to the guitar. As a “narrator” between some elements, we could hear Bill Troiani’s voice.

Vidar Busk set the standard for the show with the opening song “I Came Here To Rock”. (Photo: Per Ole Hagen).

The different artists played one to four songs each. The musicians went on and off the stage, visiting each other’s performances. Besides Vidar, Amund Maarud, Kurt Slevigen, Bjørn Berge, Trudy & Dave, Ronnie Jacobsen, Terje Nordgarden, Magnus Berg, Kid Andersen, Tor E. Bekken, Richard Gjems, Tora Dahle Aagård and Knut Reiersrud played.

Drums and percussion took care of Henrik Maarud and Martin Windstad, and the bass job was shared between Bill Troiani and Rune Endal. A wonderful wind series with Bendik Brænne on saxophone, Petter Marius Gundersen on trumpet and Hans Foyn Friis on trombone color for many of the artists.

Like the night before, the music mix worked optimally. The scenes changed lightning fast, and the musical got the audience everything from americana to both old and more modern blues. The sound was very good and the sound in the beautiful hall was adventurous.

Best of all, perhaps the great soundscape came to light when Dr. Bekken and Richard Gjems played their song Midisjollin, based on folk tunes from Finnskogen. With just piano and harmonica they enthralled the audience with extraordinarily beautiful music, and were able to raise the evening’s most intense applause.

Guitar power in “The Hall”: From v. Amund Maarud, Knut Reiersrud, Kurt Slevigen, Vidar Busk, Ronnie Jacobsen, Kid Andersen and Tora Dahle Aagård. (Photo: Per Ole Hagen).

The technical was supported by Jan Olav Sandsmark (sound), Per Marius Larsen (light), Pål Emil Storm-Berg (backline) and Stig Kamonen (monitor and technical coordination), and everything worked very well.

The music lasted from 7pm to 10:30 pm, including a half hour break. At the end, the program cracked a bit, and the final song on the set program, Vidar Busks Stompin ‘Our Feet With Joy, had to be dropped, due to very stiff fines if the artists exceeded the agreed time. All in all, everyone was well pleased with what had been served from the stage, and broad smiles and the very large superlatives characterized the audience.

Chaplain Maarud thanked for the evening, and exclaimed that “I will never forget this”. And those words probably cover the feeling everyone else in the hall and on stage left with. A slightly devotional feeling of having been involved in something big and unique, right one night for the history books.

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Publikum i spektakulære Royal Albert Hall.

Publikum i spektakulære Royal Albert Hall.

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