Hero Humbucker’s 11th Royal Albert Hall Appearance 2024
We had the good fortune to attend one of two special London performance’s given by the multiple award-winning blues-rock guitarist, singer-songwriter & humbucking superstar JOE BONAMASSA.
We went to the first of these shows, on Thursday, April 4, 2024, at London’s storied Royal Albert Hall.
The musician was in his thirties when he first played this iconic venue. Stepping onto boards that also welcomed BB King, Jimi Hendrix, Jeff Beck, Jimmy Page, and of course Eric Clapton (who he accompanied), had always been a “once in a lifetime experience” for Bonamassa yet. here in 2024. the musician repeated his life-goal yet again!
As a limbering-up number, “Hope You Realize It (Goodbye Again)” acclimatized our audience participation responses as much as it loosened the isometrics of the stage musicians.
Bonamassa’s silver-guitar strapped, white-shoe shuffling rock ‘n’ roll boogie fireworks were an amazing appetizer and brilliantly supported by finger poppin’, straight-time, straight-talking rhythms, followed by an alliterative organ/guitar duel.
This upbeat number promptly had everyone in the Albert Hall squeaking, squeezing, and wowing! Fantastico!
guitar notes mauled at the heart-strings of the piece as if connected by bungee cords that plunged the survivor into the type of lonesomeness that can only be remedied by playing upraising blues…
Raw Ramp Music Magazine
Bonamassa exemplified the releaseability of his extraordinary bluescraft in the slow-tempo rendition of Bobby “Blue” Bland’s “Twenty-Four Hour Blues.” His wounded voice delivered the perfect amount of grief-ridden despair that had been drawn, it seems, over countless nights of struggle with lonely contemplation.
His guitar notes mauled at the heart-strings of the piece as if connected by bungee cords that plunged the survivor into the type of lonesomeness that can only be remedied by playing upraising blues. The number had a melodically focused arrangement with an understated rhythm. Bonamassa perfectly conveyed the sense of forlornness that will spread into a lonely person’s heart before a plaintive dawn. His voice on the number was sharp as a blade, while those guitar licks were claggy as coal tar. This was a spirited heartwrench of exceptionality.
a spirited heartwrench of exceptionality…
Raw Ramp Music Magazine
“Well, I Done Got Over It” taken from “Blues Deluxe Vol. 2” was a clapalong honky-tonk call-and-response number with a Chuck Berry style set of punctuating rhythms and talkative guitar/organ interplay. The number brimmed with concentrated effort and fully-expressed emotion.
The blossoming Roger Waters style Pink Floyd ish wonderfully resonating “Self Inflicted Wounds” (taken from the 2018 “Redemption” album) was haunting and suspense-filled. The guitarwork on this piece was an emulsion of oils and hues; a tonalitic outflowing of emotions. Backing singer Jade Macrae ornamented the impeccable arrangement with superior support vocals, swaying like a peach branch in an elegant breeze. The London audience was then treated to an effusive expression of deep feeling developed by a ravishing twin-guitar inter-harvest. Transfixing!
an emulsion of oils and hues; a tonalitic outflowing of emotion…
Raw Ramp Music Magazine
There was more vintage R&B with “I Want To Shout About It” which was a Billy Joel-style ‘skit’ with a Berry Gordy / Billy Davis feel. This satisfying squeezin’ and ‘teasin’ number had propellent & enchanting organ-play from keyboardist Reese Wynans and also provided Josh Smith an opportunity to produce a well-received guitar solo. The interplay betweeen guitar & keys reminded us of Sugarloaf (the band.)
The elegant song, “The Last Matador Of Bayonne” was, for us, a high-point in a genuinely memorable show, and delivered a vivid drama of forewish and vanquishment; rich in grandeur, sweeping emotion, supple musical translucency, and with rhythms that never got tired.
This was an opus and landmarked, for certain, Bonamassa’s sense of sculptural and soulful, artistry. That he (perhaps) sees himself as the slayer in the ring, wearing his traje de luces and brandishing a sword, encouraging his entourage to soldier-on to victory and applause, is both thought-provoking and not-just-a-little melancholic. But that’s what brilliant blues does: it gets us to ponder meanings and adjust our understanding!
After “‘Breakin’ Up Someone’s Home” with a squelchy bounce that revivified the enthralled post-Matador audience, Bonamassa told a few jokes and spoke about his love for the Royal Albert Hall. And for Bonamassa, whose unruffled, typically taciturn style has been turned into a trademark, for once he was almost avuncular! He introduced the band, Josh Smith on guitar, Lamar Carter on drums, Calvin Turner on bass, Reese Wynans keys, and backing vocalists Jade Macrae and Dannielle De Andrea and spoke about his immigration status “Not so much an A-list celebrity as an E,F, and G list!’
This was an amazing concert, one of the best blues presentations we’ve seen in years, with a determined and diligent song-voice and faultless lines of liquid amethyst honey guitar. Transformational!
Words: © Neil Mach
Photos: © Marty Moffatt
Check our London interview with Reese Wynans here>> https://rawramp.me/2019/
RAW RAMP 