The Brew live from Saturn

A Live gig from Saturn will look good on their CV, we in Germany though know that Brit Rockband ‘The Brew’ weren’t playing where no band has played before, but in fact in a German Megastore.  Since the band came complete for a full blooded show with amplifiers and electric guitars though, this might seem almost as odd as a Galactic Gig – but not so far to travel of course.

If you’ve read my previous reviews of the rockers from Grimsby you will know that A- The Brew are pretty loud and B – They jump a lot.  My first thoughts when I walk into the Hansa Ring Megastore are related to this:  A – The Classical Music section is on the floor right above the stage set up and B – The said  stage looks to be constructed by a toddler from a Christmas Edition Meccano building set.   Spectatorwise, the Classical Department actually provides a perfect ‘balcony’ to watch the band from.  Even better,  it’s also deserted before the first song is over.  An elderly gentleman flicking through the Beethoven concertos either headed downstairs to headbang frontstage or more likely, headed for the exit to avoid having his head banged involuntarily.  Either way it suits me fine. Just me, the soundman and the house photographer are left to survey the throng of music fans jostling for a good view below.

Young guitar wizard Jason Barwick is clearly enjoying himself, under the watchful eye of John Lennon (courtesy of a half dozen Greatest Hits posters) and I think the late Beatle would forgive the wry commercialism of an in-store gig and smile if he could see the enthusiasm on Barwick’s face.  As it is, the posters are to the young guitarists back and Lennon’s face remains deadpan.

The Saturn Manager told me that there have been a few such shows in the past, including OMD.  Musically, considering the location is a very big room filled with CD’s and DVD’s,  the sound is actually very reasonable and,  With the possible exception of  the dust on a few Count Basie CD’s in the Jazz Basement below, there is nothing and no-one to be disturbed.  Certainly any dust on the stage is getting a good beating from the band – bassist Tim (father of drummer Kurtis) has even joined Jason in the odd ‘air-jump’.  From my position now immediately above and behind the Band I can actually see the stage bend under the jumpers like a circus  trampoline.  Fortunately they both land at separate times and avoid a plunge into the Jazz special offer box immediately below.  Both stage and non Rock music lovers get a brief respite from the high energy with the plaintive  ‘Kam’ but volume is restored – along with stage jumping, for the album title track ‘A Million Dead Stars’.

So, six songs, a thank you from Tim to ‘Saturn’ for helping to promote Live music  and it’s autograph time.  Question time too – “Why the instore gig?” I ask Tim afterwards.  “Well we thought we needed a bit of practice.  We haven’t played in, oh, maybe three weeks now” he smiles.  Of course it’s also useful advertising for their November 25 gig at The Kantine in Cologne.  Last year the band played the much smaller Yardclub’ next door, so things are falling into place for total world domination and Arena tours in a year or so.  If you’re reading this Bonn promoters – book The Brew again while you still can.

Popularity: 19% [?]

Julian Sas – Musical Master of Mystery

Julian Sas really is a mystery.  You would have needed a shoe-horn to get any more bodies into the Harmonie on Saturday evening – so how come he’s not mentioned in the same breath as Mr Joe Bonamassa or Mr Walter Trout when it comes to Bluesrock guitar heroes? How come he plays such mean Blues and remains such a friendly guy?  How come he still has another day job?  And above all – How come he plays like he’s loving every moment night after night?

Bonn is, as Julian admits during the show, a ‘second home’ for himself, Bassist Tenny Tahamata and drummer Rob Heijne.   If you live near Bonn and love rock music then you will have visited the ‘Mr Music’ shop in the City Centre and  found it impossible to miss the posters that went up for this years show – barely after the last cable was packed away following last years great gig.  Posters for next year, the bands 10^th in Bonn, will undoubtedly be at the printers even as I speak.  It’s another conundrum – how does Sas get the attention here in Bonn that others can only dream about?

It doesn’t hurt that the owner of the said shop is a die hard Rory Gallagher fan of course.  It’s also true that when Sas plays his Gallagher cover ‘I Take What I Want’ dedicating it to “One of the greatest ever”, his version  does Rory proud and indeed, Julian Sas could make a good living playing covers of the genial Irishman as ‘Nearly Gallagher’, ‘Glory Rory’ or some other name (although given the number of Gallagher cover bands in existence even these improbable names are probably already gone).  Thankfully he doesn’t do this as it would be a criminal waste of talent – Julian Sas is very simply one of the best Blues-Rock guitarists in the world and on Saturday he played the second best guitarists set that I’ve seen in at least the last five years.  (to beat Jeff Beck’s amazing performance of playing notes without seemingly touching his Fender strings, Sas would have had to play solos with both hands tied behind his back).  It’s no surprise then that Sas was recently voted best Blues-Rock guitarist from the Benelux Countries in a recent poll.

“We’re gonna play for a few hours,  we’ll have some old favourites and a bit of jamming in there too” smiles Julian almost from the off – and then there is no looking back. Whether a Gretsch, a Fender or a Gibson.   Whether played with fingers or with a pick.   whether a haunting ballad like ‘Blues for the Lost & Found’ or a righteous Rocker like “Take What I Want”;   Julian and his band attack every song as if it might be their last – as if some disgruntled promoter has threatened to pull the power plug on them suddenly, painfully,  and forever. In amongst the smiles and the grooves Sas shows appreciation for the people who have shaped or followed his career.  Rory of course, but local ‘heroes’ like Bernie at Mr Music and Music Photographer ‘Eckie’ Pech who died recently.  Each gets a dedication during the show.

As always, big Rob ‘Animal’ Heijne almost towers over his drumkit as if it’s a tonka toy he’s about to destroy.  I’d reckon by the aggression on his face at times that he gets through a new drum head every show and possibly a whole new drum every week.  Bassist Tenny Tahamata on the other hand looks as if he’s seen it all before and bought the Tshirt too, but the grin that cracks over his face when he meets Sas’ eyes gives the game away – he’s having as much fun as they, and we, are this evening.

This was the bands ninth appearance in Bonn over the years and many of the audience have seen all nine shows.  As a result, there is a cameraderie as much offstage in the audience as on it.  ‘Rorys Friends’ Fansite Head Karl-Heinz is here as always, and as always the Gallagher Tshirts almost outnumber the Sas ones.  Peter, Fansite Head of Julians German Website is here too, and so is Mr Music Bernie Gelhausen whose Shop arranges the Shows every year.  They’ve all seen Julian Sas a good many times over the years and they are all in agreement – he’s playing better than ever.  Usually with a rocker who has a just become a father (Mother/Ana Popovic!) I’d say it was the calming influence of fatherhood.   Julian though was always calm.  Whatever the reason though Julian Sas is following ever closer in the giant musical footsteps of  Rory Gallagher and one day some kid will go onstage dedicate a tune to “One of the greatest ever” and he will be refering to a Dutchman.

Before that happens though I look forward to many, many more killer concerts at the Harmonie to brighten the November nights.  Now, Julian is back on 26 November 2011.  it’s time  I headed down to Mr Music for my ticket…

LINK TO MORE PHOTOS

Popularity: 29% [?]

3 J’s – 3 Different Blues

The three J’s – maybe that should be the three G’s as three different generations of Rock Blues guitarists took the Museumsplatz stage by storm on Monday.  Jimmy Bowskill, Joe Bonamassa and Jeff Beck.   We sent two J’s to cover the event.  John Harrison provides the words and John Hurd the pictures at this one off musical event with a past master, a current icon and a tip for future fame all under one hot Bonn Tent.

Sometimes less words = more understanding:

Proof of that is Jimmy Bowskill.  Still only 19 and Canadian, but playing with a passion that most people will either never ever know, or have long since lost! If the blues have a future it is intrinsically here, raw, emotional and practiced with both skilful feeling and innovational talent.

Jimmy’s been straight back to the source and listened to Robert Johnson and Son House, he’s worked his way through the old Delta blues players as a young boy and expresses his contemporary feelings in a modern way, but you can still hear the old masters’ voices coming through when he plays.

Mid-set he swaps his Gibson Les Paul for a twin necked Gibson and lets rip on the 12 string arm, because it’s a fun thing to do. Jimmy enjoys playing and this comes through in his music.

His instrumental rendering of Summertime on a Fender Telecaster, audaciously tuning the guitar to a minor key and then playing bottleneck slide was both visually and audibly mind boggling, he didn’t tune it just two frets down to Dm, he tuned it 4 frets down to Cm, Jimmy likes a fatter sound and he certainly gets it with his instrumental ‘Tour de Force’ that prepared us mentally for Jeff Beck later in the evening.

“Gold in its native state is but dull, unornamental stuff, and only lowborn metals excite the admiration of the ignorant with an ostentatious glitter. However, like the rest of the world, I still go on underrating men of gold and glorifying men of mica.”

-Mark Twain, author and humorist (1835-1910)

Twain might have been at tonight’s set by Joe Bonamassa when he wrote that.  Bonamassa is good.  Very, very good in fact.  But he comes across tonight as possessing more quantity than quality, with uncountable notes that seemed tapped out like morse code on a railway station with a telegrapher one hundred years ago.  He changes guitars like he has to, but he doesn’t really.

Joe is certainly a great polished professional showman, with the shades to match, but I missed a feeling, a raw simple gutsy feeling, that comes sometimes through the axe of a great player when everything falls magically into place and the soulful sounds totally enchant the listener.

Sometimes less words = more understanding(reprise):

Jeff Beck of course doesn’t sing a lot, but then he doesn’t have to.  He lets his snow white Stratocaster cry, then he lets it gently weep, and then he lets it sing for him.  It sings like a nightingale.

He doesn’t throw plectrums into the audience either.  Why? Because a hard cheap piece of far eastern manufactured plastic would reduce his feeling.  His strings are gently stroked by the skin of his thumb and his naked finger tips. This gives him a much a warmer sound than most of his peers and this and his almost unique use of the tremolo arm on his guitar contributes to the lead guitar sound which is Jeff Beck. I think Hank Marvin of the Shadows was the last guitarist I saw actively using the tremolo.

His music is driven by passion rather than aggression, fire rather than anger, love rather than desire.

Sheer boots and braces music – which oddly enough is how he is dressed tonight:  White calf length boots and, due to the heat shirtless under the white waistcoat, grey braces hanging like pendants -almost as if he’s only half out of bed, and, totally nonplussed before dispatching the young whippersnappers, pretentiously nipping at his heels, who walked the same boards earlier in the evening.

If ever there were an apprenticeship for blues guitarists it would be the Yardbirds, Jeff Beck was lead guitarist as was Jimmy Page, Eric Clapton left because it was becoming too commercial and losing its blues roots.  What a schooling!

Jeff Beck doesn’t just play songs, he carefully selects them, and then wears them like a tailored suit.The fact that he doesn’t sing would be a drawback to lesser men. He has a knack more recently of picking songs where the melodies and the words are already in the heads of his audience. He merely plays a wonderful instrumental and triggers the latent words to spring into being in the listener’s mind.  Short and simple: A genius!

He simply plays, and the words are in our heads, found, addressed and mysteriously activated after just a few bars.

Early in the set he, in a rare moment of explanation, said that the next piece “Corpus Christi “ was an old carol from 1660, the white haired man next to me aspired, “why doesn’t he play some blues?” Blues are supposed to make your eyes water! You can find the blues anywhere, even in the body of Christ.  Jeff really did square the circle as the tears welled in my eyes.

Then such a wonderful bass solo with harmonics and goose pimples.  “People get ready” is a great gospel song from Curtis Mayfield and is somehow even more heart rendering, when the only words are self supplied.

In “Rolling and tumbling” some wonderful vocals from Princes former bass player Rhonda Smith, as if almost an after thought to her superb bass playing.

Jeff Becks interpretation of “Somewhere over the rainbow” led us like the Pied Piper down the yellow brick road.  And later “Day in the life” from the Beatles Sgt. Pepper album came to life, despite of, or perhaps because of, the lack of vocals.

The mystique in Jeff Beck’s music is what he does not sing, his guitar simply knocks wordlessly on the mind’s door, and invites everybody in.

Review: John Harrison

Photos: c.John Hurd

John Harrison is MC and Regular Guest at the Bonn Folk Club



Popularity: 45% [?]

Oli The Kid Hits Town!

He’s not American, he’s not black, and he’s not old.  Despite these Blues ‘handicaps’ Oli Brown came out onto the Harmonie stage ‘guns blazing’ and quickly shot down all those critics who claim a young, white Englishman can’t play the Blues.

My first sight of 20 year old Norfolk born Oli Brown on Wednesday was a fitting one.  He was leaving the hall after sound-checking.  Hung over each shoulder was a guitar and he was holding them steady like they were in the holsters of a western gunslinger.  A musical Billy the Kid.  Okay,  Billy never wore a belt-buckle with the Batman logo emblazoned on it (as far as I know!) but when it comes to the ‘killer touch’ Oli’s Vanquish signature guitar should have more notches than Billy’s Colt.

Also very un-Tombstone like – Oli thanked me politely for the souvenir Bonn fruit gums I presented him with.  Graham, Oli’s Manager and father, said any food was especially welcome.  This was the first date of a short German Tour and they’d travelled over via Dunkirk and had been up since 3am – Motorway jams however meant they still barely had time to set up and soundcheck in Bonn.  Dinner was on hold until after the show.

Inside the hall there are a number of confused people.  I hadn’t seen seats and bistro tables in front of the Harmonie stage since Louisiana Red was here last year.  Many of the audience today had never seen them here before full stop.  Maybe the Harmonie Management put in the seating out of politeness and the expectancy of a higher than usual female contingent for a Blues show (there are never this many women at Walter Trout!) more likely, this being a Wednesday, they were being conservative about the turn-out. I remember rebellious Thin Lizzy fans throwing seats aside at a Portsmouth concert many years ago.  Here too the audience is rebelling.  Well, sort of…  I see a middle aged (ex-Thin Lizzy fan?) heading up the stairs of the hitherto closed off balcony.  When after five minutes he still hasn’t been forcibly removed, others throw caution to the wind and join him.

When ‘Oli the Kid’ fires off the first notes of  ‘Evil Soul’ at the crack of 8pm the seats are pleasantly full both downstairs and up, but without the swaying mass of heads there seems a lack of atmosphere.  Despite large marketing banners each side of it, the stage seems a bit empty too.  Oli has a mike in the wall corner, drummer Simon Dring is at the back, and bassman Roger Innis is in the other front corner so stage centre is oddly empty, as if  the vocalist had failed to turn up.  As it turns out, the vocalist is most definitely there as Oli Brown proves he is more than just a guitarslinger.  In the course of the show he also manages to not only cover every inch of the stage but also most of the auditorium when he goes on a Buddy Guy style walkabout with guitar in hand.

I’d wanted to see Oli with his own band since last years appearance with the RUF Blues Caravan Tour.  No offence to the Caravan musicians who are superb, but a musician should be judged on their own band.   So I was a bit disappointed to find Bassist Freddy Hollis has just left the trio.  In his place for the European dates is – you guessed – Blues Caravan bassist Roger Innis.  This is a man I would like near me at a nuclear catastrophe.  Innis exudes calmness onstage.  “End of the World? Bummer eh? Stay cool!” would probably be his pre catastrophe advice.  He even remained calm when I mistook him for an American (he’s a Brit) and did I mention he is also a fine bass player who does what all bass players should – keeps the beat rather than beat it to death – which can also be said of young drummer Simon Dring.  Both men keep things simple, allowing Mr Brown to take his signature Vanquish electric (a British Firm I might add) where he wants it to go – whether thats deep into his soul or deep into the audience.

Oli Brown’s music is a curious mixture of boyish charm and enthusiasm with the musical sound of a seasoned veteran.  This is quite amazing when you consider that the first gig Oli did was in March 2007.  This coming June will see The Oli Brown Band playing at the revered Glastonbury Festival – yes, that’s little more than three years of gigging.  Can anyone really be THAT good THAT quickly?  Mike Vernon thinks so.  Mike produced such illustrious names as Eric Clapton’s Bluesbreakers, Freddie King, Peter Green and David Bowie in the 1960’s/70’s until retiring.He was so impressed by Oli Brown’s music that he ended that retirement to produce the new CD ‘Heads I win, Tails You Lose’.  Vernon believes Oli is a part of the future for Blues Music.

Signing autographs after his super show Oli Brown is polite to a degree that you have to admire.  He not only asks who to sign to, he thinks about a few words to add and even asks exactly how names are spelt.  He even showed calm when, asking how to spell a tricky name, he got the answer “with an ypsilon” (Y).  He seems to have a genuine interest in what people say to him.  Ah, I’ve been looking for a word to sum up Oli Brown.  Genuine seems to fit perfectly.  Give him a haircut and any mother would be glad to have their daughter bring him home (whoops, sorry Oli, I promised no hair jokes!).

This boy is going to be enormous – in the words of a song from his new CD “No Diggity!”

Popularity: 29% [?]

The Brew – Strong Stuff

When the mighty Joe Bonamassa pulled the plug on Rockpalast last year it was good news for British trio ‚The Brew’ who subsequently had their entire set broadcast across the Nation.  They made a lot of fans who in turn made for a  crowded but enthusiastic crowd at the Harmonie on Wednesday.

A witty Festival organizer in Holland once referred to ‘The Brew’ as “The Father, The Son and The Holy Spirit”.  Maybe that was just a little bit ‘über enthusiastic’ but it’s a pointer to both the band’s identity and it’s driving force so let me introduce this ‘Holy Trinity’:

The Father is Manager Tim Smith and The Son  is his son drummer Kurtis.  ‘The Holy Spirit’ is literally the spirit of the band – guitar virtuoso Jason Barwick.  That Kurtis and Jason are barely out of their teens is something you couldn’t tell from hearing the band on CD though since both have talent beyond their tender years in shovelfuls on their respective instruments.

If you read my report from that previously related to fateful show with Joe Bonamassa in Cologne last year you’ll know that I had lots of praise but also a few reservations about the band;  so one year and one new CD later how do they fare?

A mini tour of Cologne last year explains how the enthusiastic fan next to me has already seen them seven times.  He’s also had Jason sign his guitar – a true mark that someone is a guitar hero and some indication of just how highly rated this youngster is.  I’d seen it before but still it was a jolt to my senses to see Jason Barwick come onstage with the air of a keen to please schoolboy – and weave his guitar magic.  The sound is loud but, in contrast to last weekends at times ear shattering tone that had Crossroads fans running for earplugs, it’s not TOO loud.  In fact it’s perfect for Rock n Roll.

The sound was good last time in Cologne though.  What has changed since then is certainly the songs themselves.  Previous album ‘The Joker’ had a to my ears rather burdensome ‘Prog Rock’ sound out of the early 70’s.  It said “We have a great guitarist in our band, and a hard hitting drummer.  Close your eyes and we could be Led Zep”.    Well, this time around I could close my eyes and they were ‘The Brew’ which was a big step forward in my book.  Except that closing your eyes when ‘The Brew’ are onstage would be to miss half the show.  Had  Barwick’s parents known he would be bounding around the stage with such energy I’m sure they would have christened him ‘Tigger’ instead of Jason.  I came back from last year in Cologne very pleased with a shot of the lad caught leaping in mid-air.  Pleased until I checked the Internet that is and discovered everyone and their dog has a shot like it – even the posters show a grainy black and white airborn guitarist.

Here we come to my major concern about the band last time.  Pete Townsend’s mid-air leap, Jimi’s behind the back guitar, Jimmy’s violin bow, Stevie Ray’s initials on the guitar,  Tommy Aldridge with his bare handed drum solo…  They don’t set fire to the drum cymbal anymore “It caused some problems” was all Jason would admit later.  The point is, they don’t need all this theatre.  They have some excellent material now with catchy rockers like opener

“Every gig has a neighbour”, the CD title track “A million dead stars” and the moving “Kam”.  I’ll even forgive the continued use of a violin bow though on the strength of it’s use on “A smile to lift the doubt”.

A huge leap forward was also noticeable in the vocals from Barwick.  He reminds me physically of a young Gary Moore but the young GM had a singing style to frighten horses with (think ‘Murder in the Skies’ or ‘Fanatical Fascists’).  This was about the sixth straight gig in a row so I hope he uses it sparingly, but that voice is another reason to be cheerful for the future of The Brew and indeed for Rock music.  A thundering version of ‘Voodoo Child’ brought thunderous applause and no one would have condemned them for not coming back for a further encore even though it was only 10:15.  Return they did though  even if the previous number was un-toppable they continued because quite clearly they love playing rock n roll together.

The tour schedule looks pretty daunting with this Harmonie show coming in the middle of ten shows in succession.  There’s a long haul through Poland where the bands last CD was a chart success and not even room until September for the UK or the USA.  If these guys keep improving they will need to invent the 500 week year to keep up with demand.  I just hope the springs in Jasons heels can hold out.

Popularity: 34% [?]

Dana Fuchs

Now in it’s 7^th year at The Harmonie WDR’s Crossroads Festival is always a great place to discover rising talent.  This year was no exception as I caught Blues Rocker Dana Fuchs and Country Roots Rocker Cory Chisel onstage.

WDR introduced its Crossroads Festival into Rockpalast in 2000 but it’s become something of an institution at the Harmonie in Endenich since it moved there in 2003.  It’s where I discovered Novastar – big in Belgium but relative unknowns outside.  Where I first heard  Karl Lagerfeld darlings ‘Moke’ and finally got to hear Eric Sardinas play his killer slide guitar riffs.

This year’s highlight was earmarked early on.  Dana Fuchs made her name in the Bluesrock world in 2007 co-starring in the Golden Globe winning ‘Across The Universe’ – a film centred around the late sixties and the Beatles back-catalogue.  It put her name out there in the States as guitarist and co-writer Jon Diamond told me later.  But ‘Out there’ was The States and it’s only now with the release of her acclaimed ‘Live from NYC’ that Europe is discovering the power of DF’s vocals.

As always at Crossroads gigs there are two acts on the bill and as always the audience passes time arguing over who should be on last.  It would certainly be unfair to dismiss the evenings other act as a ‘support slot’.  Cory Chisel was listed as one of the Bands to Watch in ‘Rolling Stone’ in 2009 – so let battle commence, and may the best man/woman win…

As it turns out Cory Chisel and his band Wandering Sons are first up.  Chisel came to music via Baptist preachers in Wisconsin and admits that ‘The gospel of Johnny Cash’ was also a major influence.  Actually Cory Chisel himself has been a musical influence too as a fan wrote to his forum: “There’s a kid who works at grocery store I frequent… He got into playing music because Cory came to his elementary school class and inspired him. P.S. That same kid couldn’t come to Cory’s show the other night because he was playing one of his own”.
Cory Chisel puts Johnny Cash and his own Gospel past to good use in producing a distinctive Country Roots Rock style that tips its hat very strongly to Tom Waits too – and he includes a fine rendition of Waits’ ‘Rosie’ as an encore to tonights show.

Chisel also owes a debt to Dylan’s musical influence and admits that maybe you can sing almost any lyric in a Dylan way and it sounds profound.  When he actually does a ‘Dylanesque’ number afterwards I am left wondering if indeed he did make it up on the spot -  it was good, and sounded deep and meaningful in that “What was THAT all about?” way of all Dylan’s best material.  It’s an easy going set that is enjoyable without quite catching fire as  Chisel sips red wine between numbers (what would his Preacher Father make of that?) but I suspect the CD is more rewarding.  The band have an easy charm about them but when I find myself thinking more about their hats than their music then I realise I’m not being grabbed by the sound the people under those hats are making.  Nice band, probably a very good CD but…

Dana Fuchs also has her roots in a Baptist Gospel Choir but in her case other family members played Rock music in their New Jersey garage and it shows.  She moved to New York and in a City not short of useful musicians established herself as a regular act in major Clubs.  Then came the ‘Across The Universe’ film and fame, Stateside at least.  Finally interest is happening in Europe, thanks to a live CD, so hearing Dana Fuchs live would seem a good bet and here I am at the Harmonie.

Dana Fuchs is also very popular with cameramen (yes, ‘men’ is definitely the correct term here!).  There’s a row of WDR Video cameras, then a row of photographers and, somewhere behind all these heads are the audience – although if they are able to see anything I’m none too sure since every time DF strikes a Rockmusic pose she seems to be engulfed in seconds by Rockpalast camcorders.  These people must end up with one shoulder six inches deeper than the other with those monsters in tow!  Whilst I have to shoot between the bodies I can at least hear the music at all times.  Last time I saw someone pose so gracefully with long flowing hair onstage it was David Coverdale so I would like to have seen more for longer.

It’s an evening of great rock numbers done proud by a powerful vocal that got Fuchs a part playing Joplin in the off-Broadway ‘Love-Janis’ Musical and rightly so.  ‘Almost Home’ is an anthem about driving – a much loved topic for American songwriters it has a tinge of sadness and longing about it.  This air of sadness floats delicately in the air around many of the songs Dana Fuchs sings and she jokingly admits to it even as she introduces “My love song” which is titled ‘Misery’…

I’ve recently been reading ‘Last Man Down’ by Richard Picciotto.  It’s the harrowing story of what happened on 9/11 in New York as lived by one of its senior Fire Chiefs.  When Dana announces ‘Moment Away’ as her homage to fellow New Yorkers on that awful day it is particularly moving to hear the song tonight.  A woman who recalled kissing her husband goodbye never to see him again.  A song that could easily seem schmalzy but Fuchs carries it off beautifully like it was a star track from Springsteens 9/11 opus ‘The Rising’.  A clue to how Dana Fuchs findes her soul in the song comes later when she dedicates ‘Songbird’ “To my sister who took her own life”.   The family that taught her Rock music in the garage also taught her to dig deep emotionally and that’s what makes Dana Fuchs music so compelling.   That emotion also purs out in the pure rock numbers and created an incendiary finish with ‘Helter Skelter’ and ‘Whole Lotta Love’.

Dana Fuchs is still signing autographs and chatting to fans long after the show is over.  I mention reading ‘Last Man Down’ and she is genuinely moved that fate has me reading it right now since“It’s really ages since I last sung it”   I suggest to Dana that maybe it’s Kismet which has me reading it this very week of her show and I’m thinking that maybe Kismet had her discovered for her role in ‘Across the Universe’ where she met Joe Cocker, who now has her down as support act for his Museumsplatz show this year.  Or maybe someone up there is looking after Dana Fuchs – thats how you start thinking after an avening of gospel inspired Rock I suppose.  Thank the Lord for Music, for Blues and for Dana Fuchs.

Popularity: 36% [?]

Ana Popovic – Hard Hitting Highheels

Since first seeing Ana Popovic in Koblenz four years ago, her shows there have become something of a yearly highlight for me.  Each time the empty streets in sleepy Güls  make me wonder if the audience is coached in en-masse or dropped ‘Close Encounters’ like from space-ships.    Wherever they come from though one thing is certain – those who see Ana once will  be back next time, and the next…

There are quite a few changes since the first show in 2005, and not all music related.  Not least is the baby seat in the Tour Van.  A bit of a novelty on the Rock circuit as Mark, Ana’s Man and Manager, acknowledges when I see him outside before the show.   In truth there doesn’t seem room for a mouse, let alone a baby, in the van.  As bass-man Ronald Jonker begins unpacking equipment I stifle the urge to ask if there is a jigsaw box picture somewhere to help show how it all fits together.  In the end I just leave Ronald and co to demolish their version of the Berlin Wall drumstick by guitar case and head for a bite to eat before the show (watching people work always makes me hungry).

When I return at 7.30 the van is empty and Café Hahn is filling up.  Playing the blues and coming from Güls has it’s up-side as  Local band ‘Blues Side’ can attest.  They’ve bagged  support slots for a number of top acts at the venue such as Walter Trout and Nine Below Zero.   Tonight it’s Ana Popovic and certainly ‘Blues Side’ are worth a listen with a good raw electric blues sound.

It’s true that I was a bit concerned having a support band would mean Ana  shortening her set.  It would certainly be an easy option;  especially since her band just flew in from playing a festival in Copenhagen the previous day. An easy option wouldn’t be for Ana Popovic though.   She played a support slot for the great BB King earlier this year and whilst they might be different colours, different ages and different blues stylists, both clearly share a desire to bring the music to the people;  and treat the people with respect.

The truth is Ana, will need at least two hours to play all the strong material she now has to draw from.  The new CD, ‘Blind For Love’ has what I think will be great live numbers on board; but will I have to miss old classics like ‘Navajo Moon’ to hear them?  I will soon know as Ronald gets the show off to a unique start by busting a string before Ana has even got onstage.  He’s shouting ‘Welcome Miss Ana Popovic’ and brandishing a bass string like he’s planning to garrot anyone who doesn’t applaud.  Help comes from the ‘Blues Sides’ bassist who comes to the rescue (and thereby proves how important support acts can be).  Finally the strings on and the show is off and rocking with ‘Wrong Woman’.

New drummer Frenchman Stephane Avellarzeda  is young but doesn’t lack in the punch department.  His hard hitting style pushes Ana’s sound into rock territory and I’m reminded of Phil Lynott’s advice many years ago to young Irish Band Mamas Boys – ‘Hit ‘em hard from the start and don’t let up’.  They do let up momentarily though for the moody and romantic ‘Song for M’ but the songs generally come hard and fast, none more so than the poppy ‘Nothing Personal’ – a hit single if ever there was one.

During the break I check out the merchandise stand where Mark is doing good business but I’m keen for part two.   I want to hear more of the new material and I am not disappointed.   Ana is back onstage with the title track ‘Blind For Love’ but the highlight for me is ‘License to Steal’ which also shows Ana’s very considerable guitar abilities.  I had this figured as a steel guitar number but there’s Ana playing a standard Strat and hell, it sounds like a National Steel guitar.  I would  like to hear this stripped down to just Ana and maybe the drums with a good measure of foot-tapping.  This is a good point to mention Ana’s style.  She’s not afraid to switch between finger picking and plectrum  within one solo.  Her eyes half close as she reaches for the sound in her head and I really believe that when that happens we in the audience no longer exist.  She’s somewhere else and wherever that is, we get it’s soundtrack in all it’s glory.  Just at times maybe there seem too many songs and not enough guitar,  so thankfully ‘Navajo Moon’ is still a set regular  to redress the balance and it’s still Ana’s musical Tour De Force.

The anthemic ‘APB’ has everyone clapping  along as I knew it must and the evening is, even at two hours, over  too soon.  When at the encore Ana asks what we want to hear and someone calls out ‘House Burning Down’ she seems a little disappointed.  She wants (needs?) to sing Blues.

We get T-Bone Walker and it’s a celebration – that Ana wants to play Blues and that quite simply, Ana wants to play, period.  When I later ask how she feels about people demanding she play Blues she emphatically replies that she plays what she wants to play and not what others want to demand she plays.  She says it smiling an enigmatic smile with a well earned drink in hand, but there’s a steely tone to her voice that says this lady is not for turning -  and if you love contemporary music with a heart and soul as I do then that is very good news indeed.

MORE PHOTOS

Make a diary date for Oct 10 2010 when Ana is back at The Harmonie in Bonn – and there’s still a chance to catch her live  this October  before she heads back to Tour the USA:

Oct 30 2009 8:00P

HAMTORKRUG

NEUSS, GERMANY

Popularity: 19% [?]

Heart & Soul – Marktplatz

Everyone knows John Belushi as Jake Blues.  Some might know that Russell Crowe  played him in an Australian Touring version of ‘The Blues Brothers’ during the 1990′s but few know that Jake actually comes from Bonn and his real name is Lothar Distelrath.  I know because I saw him onstage in front of the  Bonn Council Offices just last Saturday.

Under a warm and sunny sky in Bonn’s Marktplatz,  the evening gets underway courtesy of acoustic Rock duo Krysmah.  Formed out of the Deep Purple, Whitesnake coverband ‘Stargazer’.  Detlef Kornath and Frank Nerger take their life in their hands by playing electric hard rock anthems like ‘Smoke on the Water’ and ‘Whisky in the  Jar’  with not a Fender or Gibson electric in sight.   Nerger is an excellent electric guitarist (actually a part of the ‘Heartful of Soul’ Band) so why not play the songs electric? I asked him.  ‘”Acoustic makes it interesting” he smiled back.  I just know that given the chance to play that famous bass riff from Purple I personally would want to play  LOUD and ELECTRIC!  But he has a point.  The songs are interesting somewhat toned down and make me wonder if there is a music genre called ‘Folk Metal’ on the shelves somewhere.

Still getting my head around a German Bruce Springsteen after ‘Bosstime’ last weekend I was about to be confronted by a coverband who were themselves covering the ultimate Blues Coverband.  Heart & Soul were formed by Lothar Distelrath (Jake) and Dirk ZePuntke (Elwood).  Formed in 2002 the band bring their version of the ‘Blues Brothers’ to Parties, Summer Festivals and Street Events but they also have  some prestigious and odd concerts under their collective belts -  Alongside support slots for Kool and the Gang and Bony M have been a Birthday Party appearance for the then German Defence Minister Dr Peter Struck which led to an invitation to concerts for the troops in Sarajevo and Kosovo.

It’s certainly cheaper to be an acoustic duo than go on the road as an eleven-piece band but  ‘Heart & Soul’ don’t skimp on quantity  – or

musical quality as it happens.  They also deliver a fair bit of Rock n Roll Theatre as on ‘Flip, Flop and Fly’ with gaudy Bermuda shirts and comic wigs together with light dance routines as with ‘Shake a Tailfeather’.   But most importanly they know how to play Rhythm and Blues as proved by meaty versions of ‘Messin with the Kid’ and ‘She Caught the Katy’  that simply flip, flop and fly by.    A fair few people are joining in too – including a wheelchair bound gent who seems to have more energy and agility on four wheels than many of us standing.

Typically the concert atmosphere gets better and better as the evening rocks on.  A shame that there is no beer/wine tent as at the summer Garden shows – presumably a nod to the gastronomy providing seats and meals in the surrounding Cafe’s.  With typical Open Air in Bonn timing, just as the crowd is at its largest and the light at it’s most magical, it’s 10 pm and time to stop.  Hopes that the infamous Blues Brothers will treat this rule with disdain – but no – I guess their days of being just ahead of the law are over.  The lesson for tonight was ‘Blues’ my friends, and the Reverends Jake and Elwood left the stage to rapturous applause – Gods work done.

I’d happily book these guys for my Church, Birthday, Wedding or Bar mitzva.

MORE PICTURES FROM THE SHOW HERE

Popularity: 20% [?]