For my money, Chris Rea is a legend. So this won’t be the most objective review I’ve ever penned. I was a fan of his sometimes off-beat pop/soft rock gems of the ‘80’s like ‘Stainsby Girls’, ‘On The Beach’ and ‘Loving You Again’.

And then came the pancreatic cancer in 2001 that caused him to re-evaluate his life and rediscover the blues. Thank God something good can come from that vile disease. Because Rea’s blues-jazz output since then has taken on a whole new depth, resonance and authenticity.

This is the first Bluesfest that the Royal Albert Hall has hosted. By and large it seemed to work well. Acts had set up in the various rooms and corridors within the labyrinthine Hall. Punters could buy day tickets just for these as well as for the main events in the main auditorium. My one complaint is that Rea’s gig was followed by a separate one from Robert Plant, so we got a truncated show to allow time for the changeover.

Always leave them wanting more, I suppose. That was certainly the case here. And certainly the comment made by the couple next to us who had travelled from Gran Canaria for the gig!

We were up on the top-level gallery and I was slightly nervous beforehand about the quality of the sound. Often the subtleties can become muddied up there in the stratosphere, despite the array of sonic mushrooms dangling from the ornate ceiling that aim to deaden the echo.

I need not have worried. From the opening blues rock salvo of ‘The Last Open Road’ through to the concluding boogie chords of ‘Let’s Dance’, the band sounded crystal clear, boldly loud and tighter than the venue security.

Apart from some pruning because of the time constraints, the setlist was very similar to that of the ‘Santo Spirito Blues’ tour in 2012. No additions from his blues ouevre were added in deference to the festival. Indeed the driving, freewheeling ‘Last Open Road’ set the upbeat tone perfectly. Whilst ‘Where The Blues Come From’, with its mellow ska-influenced rhythm and the pretty ‘Til the Morning Sun Shines On My Love and Me’, took the pace down a little, there was plenty of energy and eclecticism about this gig. ‘Josephine’ for instance was given a thoroughly enjoyable funk injection.

The band must take some credit for this. Anto Drennan on second guitar and Kirt Rust on drums – both from the Santo Spirito set – were superb and contributed to a harder, tighter sound than has been seen on earlier tours. Drennan laid down a gorgeous first solo during ‘Between Highway 61 & 49’ .

In a departure from the last tour, Rea employed the services of two backing singers. This was an inspired move and gave an extra dimension to tracks like ‘Julia’, which was really uplifting and ‘Josephine’. They had also worked out some mean shimmies and moves that kept the visual interest high. Rea – never one to engage with his audience too closely – was bouncing off them with shuffles and boogies of his own. He was clearly enjoying the set.

Perhaps a surprise was the absence of long-time collaborator, Max Middleton on the keyboards. Instead we were treated to Neil Drinkwater’s accomplished services. His jazz-influenced contribution to ‘Where The Blues Come From’ was particularly outstanding.

But ultimately, it is all about the guitar. Rea simply has to be the most under-rated slide-meister of his generation. The ringing notes of pure emotion he fired off during ‘Easy Rider’ give a lump to the throat. ‘Stony Road’ built from searching, exploratory picking to a full-bloodied lead workout.

The down-trodden boogie and shards of electric energy powering ‘Come So Far, But Still So Far to Go’ were delicious. The introduction to ‘Road To Hell Part 1’ was ethereal, spooky and nerve jangling. Perfect for Halloween. ‘Part 2’ featured some proper powerchording and grandstanding to provide a fitting close to the set proper.

Just a one-song encore. ‘Let’s Dance’ was a joyous, climactic, gravel-voiced party. And yes, there was dancing. Down there in the stalls. Spontaneous twisting and jigging was observed at this revered old venue. Whatever next? Plaudits for a talented blues rock guitarist at the very peak of his powers, I hope.

Review by Dave Atkinson

Featured Artist: JOSH TAERK

Since early 2020 Josh has been entertaining us with exclusive monthly live sessions, streamed via Facebook.
In 2023 he signed a recording deal with Sony in Canada and released a new single on 15 September.

Josh Taerk Sunday Sessions 2024

Latest session: Sunday 14 April

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David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast on 7 April 2024.

UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). This show was first broadcast 2 April 2024.

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Power Plays w/c 15 April 2024

ENMY The Ledge (FiXT)
KAROBELA Get Hard (indie)
KATH & THE KICKS Neptune (indie)
THE BEE TELLERS River Poem (Black Sand Records)
LAUREN FREEBIRD Like A Bomb (indie)

Featured Albums w/c 15 April 2024

09:00-12:00 The Best of 2003-2023
12:00-13:00 The Best of 2003-2023
14:00-16:00 KATARINA PEJAK – Pearls On A String (Ruf Records)

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