Photo: David Randall
Glenn Hughes has long been referred to as the Voice of Rock. That certainly is true but he could also be described as the “Master of Rock”. His first major band was the much-loved Trapeze, he then joined Deep Purple and – together with David Coverdale – gave them the proverbial kick up the backside in the mid-1970s (although not to everyone’s taste).
Glenn also contributed to the Phenomena series of albums marshalled by Tom and Mel Galley, the latter Hughes’ bandmate in Trapeze. His first solo album ‘Play Me Out’ was released in 1977 but Hughes Thrall (1982) is generally considered the best of his early collaborative sorties, this time with one-time Pat Travers guitarist Pat Thrall.
Like many contemporaries there have been the wilderness years – lost to changing musical tastes or something worse. From the mid to late-1990s (chronicled in the 2020 box set) Glenn had picked himself up, dusted off the bass guitar, and since that time it has been a musical rollercoaster, crowned by solo albums, Black Country Communion and generous contributions to other mere mortals – an aspect David Randall described as “That ubiquitous session whore”.
…wear some garters if you are attending Wolverhampton, Liverpool or London this weekend. It’s the first time since 1976 for the Liverpudlians. By his own admission he ‘should be dead.’ Keith Thompson, May 2008
Jason Ritchie posted our first live review, in October 2003 writing:
He looks bloody good for someone whose led the life he has, especially when you look at his contemporaries like Ozzy. The voice is as powerful as ever and he has kept his range, right up to those trademark screams (leaves The Darkness in the shade!).
Over 20 years on, Jason’s comments might still apply!
In the eighties I wasn’t really doing much, I mean I did about seven shows in the eighties and I really wasn’t well. When I got clean and sober I was probably a little bit like a wild horse, I probably did one too many records with one too many artists. But I was so hungry to sing and to be out there, I just wanted to work my craft.
Glenn was promoting his solo album Songs In The Key Of Rock. In his review Jason outlined the dichotomy he faced with some fans who merely wished to hear the rock rather than the funk/soul style. His albums therefore could end up pleasing no-one, falling between the two camps.
He followed up with Soul Mover (2005) and Music For The Divine (2006), the latter introducing orchestral arrangements whilst Live In Australia documents this period of Hughes’ live activity following the earlier release in 2004. (For those wish to dig deep check out Official Bootleg Box Set Volume 3, 1995-2010 (2020) which chronicles successive live shows).
Set-list (October 2006)
1) Valiant Denial – (M4TD) 2) Monkey Man – (M4TD) 3) Orion – (Soul Mover) 4) Land of the Livin’ – (Soul Mover) 5) Nights in White Satin 6) Black Light – (M4TD) 7) Mistreated – (Deep Purple – Burn) 8) In My Blood – (Songs in the Key of Rock) 9) Don’t Let Me Bleed – (Soul Mover) 10) You Got Soul – (M4TD)11) Steppin Out – (M4TD) 12) You Keep on Moving – (Deep Purple – Come Taste the Band) Encores: Whiter Shade of Pale/Soul Mover/Burn
2008’s First Underground Nuclear Kitchen spelt out the rich soulful seam that has always characterised his music. Keith Thompson, involved with promoting Glenn’s music at this time, reviewed the Budapest gig in May 2008:
He has often said that a set laced with Deep Purple Mk3 and 4 numbers would not do it for him. One of the biggest criticisms of Mark 8 is that it may have become cabaret.
It’s an unwinnable debate as sections of the audience will undoubtedly expect more of what they know, but for the record Glenn is content with just the two on this tour. Burn was executed energetically and received enthusiastically on all three dates.
The wizened beards alongside the pretty faces reflected Hughes’s wish to freshen up his fan base. Standing at the mixing desk for Budapest, it was during the second vocal solo on Don’t Let Me Bleed that many of the slimmer sorority tended to take a nature break. Glenn’s incredible vocal talents would be better demonstrated by a ballad say the subtle soulful meanderings of Imperfection from the new album.
A month later Pete Feenstra witnessed Hughes’ London gig on the FUNK tour: “…there is no one who can come close to his Sly Stone evocations, his Stevie Wonder style phrasing, or indeed his different unrelenting shades of funk that would please Prince fans.”
Photo: Lee Millward
Keith was back in Blighty to review Hughes’ gig in Wolverhampton in September 2008. During the gig Glenn paid tribute to his friend Mel Galley who had died earlier in the year and included several Trapeze songs. The June 2009 gig at the same venue was celebrated on the CD/DVD release in 2011.
It is evident that in these early millennium gigs Hughes had demons to dispel, and not least punter cynicism. But by 2010, as Thompson remarked, “most conversations that I overheard were talking about Glenn Hughes deserving another day in the sun, or words to that effect. Thankfully most observers have dispensed with myths about what happened behind the scenes of the Purple dynasty…”
2010 was a key year that saw the release of the debut Black Country Communion album, combining the talents of Hughes, Joe Bonamassa, Derek Sherinian and Jason Bonham. The band would be a continuing project for Hughes in the ensuing years only really complicated by Bonamassa’s own commitments and touring schedule.
According to Thompson: “Overall, this album has exceeded my expectations and I am particularly pleased for Glenn Hughes who will gain many more friends and fans after one or two false starts on the big time comeback trail.”
The following year, Hughes’ autobiography was published “Deep Purple & Beyond: Scenes From The Life Of A Rock Star” and the launch in London was accompanied by an acoustic gig.
In amongst this of flurry of activity Hughes still managed to contribute to others’ albums. During this period we reviewed The Lizards (2006 and 2015), Ken Hensley (2007), Voodoo Hill (2004 and 2015), Pushking (2011), Gov’t Mule (2013). Later there was a posthumous Ronnie Montrose album (2017) and Joe Satriani (2017).
Photo: Paul Clampin
… to be honest, most of the time I am either produced by someone who wants their vision of what I should be, or I do a great performance and then later I hear the mix and I am not too impressed with what they did so I don’t think about it too much.
The second Black Country Communion album (2012) had particular input from Hughes. Pete Feenstra – who doubted the band’s survival – wrote:
If ‘Afterglow’ is to be the band’s swansong album, then Glenn Hughes has done his level best to make sure it will be remembered for his performance. There can be few other 60 olds outside of Sammy Hagar who have the energy and undiminished creative levels to pull off a hard rock album in the twilight of their career. It’s perhaps ironic that Hughes should achieve this success under the moniker of a band with such a potentially short shelf life.
Pete Feenstra chatted to Glenn Hughes for Get Ready to ROCK! Radio. First broadcast 18 October 2015.
In 2014 Hughes collaborated with guitarist Andrew Watt as “California Breed”, described by Pete Feenstra as a seriously good rock record. The partnership was short-lived, however, and had dissolved by early 2015.
With no new album to promote, Hughes fell back on the inevitable “best of” setlist for his UK tour in September 2015 featuring Doug Aldrich. The guitarist has recently parted ways with Coverdale in Whitesnake.
David Randall chatted to Glenn Hughes for Get Ready to ROCK! Radio. First broadcast October 2016.
Glenn’s most recent solo album Resonate (in 2016) was described by Pete Feenstra:
‘Resonate’ certainly lives up to its name. It’s an album sculpted by layered parts and shaped by a huge wall of sound that accommodates every element of Glenn’s bristling persona. He’s an indefatigable performer who rocks, grooves and gets just as soulful in the studio as he does while treading the boards.
Andy Nathan reviewed Hughes in London at the Islington Assembly Hall (January 2017) describing:
A superb band, a cleverly chosen, career-spanning setlist and a perfect venue: all reasons why this was my favourite Glenn Hughes gig in a long time. At 64, the famous voice remains in remarkable shape, and this gig set the bar very high for the next stage in his career with the Black Country Communion reformation.
That reformation (after three albums and a six year hiatus) took place in January 2018. A further two albums (BCCIV, 2017) and (V, 2024) have appeared.
Photo: David Randall
It was inevitable that – in the live format – Hughes would revisit his Deep Purple era and in 2019 (and again in 2023) his show majored on this aspect. According to Andy Nathan it almost certainly brought back lapsed fans. Hughes also appeared at the Stonedeaf event that summer.
Glenn Hughes has arguably got better and better in the millennium. This is attested by two great albums that bookend our period of coverage.
No, we haven’t forgotten the wonderful Fused (2005) a second solo collaboration with the mighty Tony Iommi. Greater traction for this partnership was only stymied by respective touring commitments.
More recently Hughes’ involvement with The Dead Daisies produced two very fine albums, in Holy Ground (2021)and Radiance in 2022 . These albums demonstrate the midas touch that Hughes brings to any project and also clearly evident in his work with Black Country Communion.
A real rock trooper and survivor, Hughes plays UK dates in October 2025 following the release of a new album Chosen.
Gig review (Bristol, 14 October 2025)
GRTR! Greats
Main story: David Randall
Contributors: Dave Atkinson, Pete Feenstra, Joe Geesin, Brian McGowan, Andy Nathan, David Randall, Jason Ritchie, Mark Taylor, Keith Thompson
UK Tour Dates
14/10 – O2 Academy – Bristol
15/10 – Guildhall – Portsmouth
17/10 – KK’s Steel Mill – Wolverhampton
18/10 – O2 Shepherd’s Bush Empire – London
21/10 – O2 Ritz – Manchester
22/10 – Boiler Shop – Newcastle
24/10 – Rock City – Nottingham
25/10 – The Garage – Glasgow
Featured Artist: JOSH TAERK
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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 16 November 2025.
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 600th show was first broadcast on 18 November 2025
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Power Plays w/c 1 December 2025
We feature all the artists selected in this sequence in 2025.
Featured Albums w/c 1 December 2025
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
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