On Thursday, May 7th, 2026, we had the pleasure of attending the fifteenth performance by the world-renowned multi-award winning blues-rock guitarist, singer-songwriter, and virtuoso performer, JOE BONAMASSA, at London’s iconic Royal Albert Hall. This was the night of Joe’s 49th birthday so it became a very special celebration!
The event opened with “Breakthrough” with its potent blues-rock riff, leading into a verse underpinned by a thoughtful bass-line skillfully articulated by Calvin Turner. The brilliant chorus, enhanced by Jade MacRae and Danielle DeAndrea’s superb background vocals, was illuminated by remarkably clear guitar and the most radiant organ notes imaginable. This show marked our first experience of Lachy Doley, an exceptionally talented and energetic keyboard player in the vein of Keith Emerson, who succeeded the cherished Reese Wynans in Bonamassa’s touring ensemble.
Joe’s fretwork at this opening song was a dazzle, of luminous fronds of energy.
The song “Trigger Finger” offered a potent, dynamic experience. The words within the song delved into themes of resilience, rebirth, and the unquenchable spirit that drives artistic evolution. The guitar-work was diligent, the rhythms direct, and while the riffs carried a hint of sadness, Bonamassa’s vocals were bold and uplifting. This piece was delivered with passion, demonstrating Joe’s boldest musical explorations.
“Twenty-Four Hour Blues” was a smart and skillfully formulated piece with some of Bonamassa’s most potent and granular vocals. His persuasive voice shone out across the masterful rendition of Bobby “Blue” Bland’s original. The piece showcased piercingly exquisite guitar, characterized by its gemstone-like transparency, scattered with the colours of topaz, tourmaline, and zircon. The song brought bedazzling sounds that glittered across the 155 year-old venue with the translucency of Victoria’s state imperial jewels. This performance was truly outstanding!
Lemar Carter’s drumming expertly anchored “Well, I Done Got Over It,” which was a standout track on Bonamassa’s 2023 release “Blues Deluxe Vol. 2.” The live performance at the Royal Albert Hall boasted a lively, clap-along feel, conversational guitar and some exquisite keyboard flourishes, along with a groovy rhythm section. This number vibrated with intense energy and deep emotion.
The vintage R&B sounds continued with “I Want To Shout About It”, a skit that was, to our mind, reminiscent of Berry Gordy and Billy Davis. Lachy Doley’s mesmerizing organ stood out in the pleasing, trad-sounding exuberance, while Josh Smith (guitars) had an opportunity to incorporate expert fingerstyle into the elaborate piece.
“The Last Matador of Bayonne,” a seminal composition that might be compared to his “Stairway to Heaven,” (if you will) showcased Joe’s ability to merge the sheer scale of a full band performance with intimate guitar work and intrinsic vocals. Through this fusion, the musician illustrated the tenacity, courage, and contemplative state of a matador as the tired Torero encounters an inevitable destiny. (Maybe it’s a metaphor for a blues guitarist facing valediction?) Anyway, the performance stole the show with its incredible impact and vision.
A perfect rendition of “Crossroads,” (Eric Clapton’s arrangement of the Robert Johnson standard), capped off the concert. Joe introduced the number by mentioning Clapton’s memorable performances at the R.A.H. in 1968 and at Cream’s 2005 reunion. By all accounts, Clapton’s ‘Cream’ guitar and the song itself inspired the American’s wish to perform on the same boards, and this ambition propelled his blues career into the stratosphere. Hooray for Eric Clapton! Hooray for Cream! And a third hip-hooray for Joe Bonamassa too!
Welcome back to where your spirit truly belongs, Joe. And here’s to your 49th birthday. Many congratulations!
Words: © Neil Mach May 2026
Photos: © Phil Honley
RAW RAMP 