Photo: Simon Dunkerley

Bonamassa brings the blues to a new generation, at least until 2039…

“Let’s start by doctoring the immortal phrase, ‘He came, he saw, (he blinked twice, took a deep breath), and conquered”!

Joe Bonamassa and his gifted band took their first tentative steps into South London, and after an eventful anxious few minutes as the power supply vacillated, the band swept all before them to convert every single person in the venue, to the merits of the Joe Bonamassa band.”

So said Pete Feenstra in May 2005 writing about Joe Bonamassa’s appearance at “Beard’s Blues” Tooting. Beard’s Blues!

The following year Feenstra was reporting Bonamassa’s gig at his Boom Boom Club venue in Sutton when he confirmed: “there is little doubt that he is a heavyweight performer in his own right, and right now the hottest ticket on the block.”

Joe Bonamassa

Four months later – in February 2007 – US correspondent Steve Jancowicz enthused: “I spoke to more than a few who attended and everyone was in agreement that it was a powerfully exciting show from a humble musician who signed autographs and took photos right out front after the show.”

Three years later Bonamassa was playing Hammersmith Apollo when Pete noted “In fact Joe is many things to many people, the polar opposite of some of his ego driven one dimensional musical contemporaries. He is a guitar hero for the new rock/blues generation as well as a major stylistic influence. And in a broader context he is also a commercial barometer of the times.”

And as Joe himself commented at this gig “the biggest crowd I’ve played to’.

Joe Geesin reviewing the 2004 album ‘Had To Cry Today’ opined “Blues guitarist Bonamassa has already been making a name for himself, and this collection of original and standards shows why.”

I think being a top player requires the both being highly technical, and natural talent. I also see players like BB King, who can play one or two notes and communicate volumes with a range of emotions that can bring a audience to tears in seconds. It was that very point that made me interested in Blues guitar in the first place. It was how they spoke words of joy and sorrow through their guitar.(Joe Bonamassa, 2005)

..the thing that originally made this album special in the first place was the way Bonamassa infused Brit rock blues staples such as the Ian Anderson penned Jethro Tull title track and Free’s ‘Walk In My Shadow’ with a fresh vitality and energy. Years later, he’s refined his original approach without losing the raison d’etre for the album’s original success. ***1/2 Pete Feenstra

Album review (A New Day Now, A New Day Yesterday 2oth Anniversary Edition, 2020)

Bonamassa had indeed come a long way since 1989 when he wowed seasoned pros like BB King. His rise and rise closely parallels the “Get Ready to ROCK! Years” – his European breakthrough didn’t happen until 2005. These days he plays short arena tours or prestigious residencies. In fact his first Albert Hall date took place in 2009 and was celebrated on CD/DVD.

At this event, the guitarist recalled the fact that it was barely 5 years since he made his UK debut to some 60 people and that he was now humbled to now be playing to 4,500. The 2015 set Live At Radio City Music Hall similarly reflected a career milestone when he played the 5500 capacity venue in his early home stomping ground of Syracuse, New York. And in 2017 his Carnegie Hall gig was celebrated on CD/DVD.

Photo: Steve Goudie

In between times we have reviewed him at smaller venues (Beard’s Blues!), at the BBC Maida Vale studios and Pacific Road, Birkenhead both in 2008 and a particularly memorable outing at the Cavern Club in June 2016 when Alan Jones salivated “He absolutely tore the place apart and served notice that the blues is not only still relevant in the 21st century, but, more to the point, still commands a fervent fanbase.”

‘Sloe Gin’ has many qualities but above all Joe has brought fresh life to the rock blues genre, via some deft acoustic outings and a consistently passionate vocal style which we will surely hear much more of in the future. **** Pete Feenstra

Album review (Sloe Gin, 2008)

Stylistically Bonamassa has gone from the elevating the blues – and paying homage to his own heroes like Clapton, Green and Kossoff – to a sometimes more rock fuelled approach which has realised it’s greatest zenith in Black Country Communion the superband formed with Glenn Hughes in 2009. He even explored jazz funk styles with Rock Candy Funk Party in 2017.

Themed albums have also emerged, such as An Acoustic Evening at the Vienna Opera House (2013) , Muddy Wolf at Red Rocks (2015) and Live At The Greek Theatre (2016) whilst he has guest guitared on any number of albums. Here at GRTR! we’ve reviewed such albums by the likes of Eric Gales (2022), Dion (2020), Bernie Marsden (2017), Walter Trout (2017) and Ronnie Montrose (2017) and James Cotton (2013).

It’s very rare these days to talk about a genuine fast rising blues rock star. The UK has of course seen a few previous contenders such as Johnny Lang and Kenny Wayne Shepherd who never quite fulfilled their potential but in Joe Bonamassa you have an artist who not only fits the bill, but he looks like he is here for the duration.

(Pete Feenstra, August 2007)

Pete Feenstra has long been a supporter and early promoter. He interviewed Bonamassa in August 2007 around the time of the release of the landmark album ‘Sloe Gin’. He asked him “Were you surprised at how quickly you have achieved success in the UK?”

Very much so. I’m really honoured by the fact that the UK has been appraised of what I’m doing. I’m really happy about that. And it’s really been little more than over of a year since we have gone from playing 200 capacity clubs to filling the 2000 capacity Shepherd’s Bush Empire.

In fact it took about 7 years to achieve the same kind of level back in the States. We had already done some work in Europe building things up though festivals etc, but the UK has been a real surprise. The response to the new album has been good too, and I’m very grateful for that.

It all came together for me when I was a kid listening to my dad’s record collection. And now it seems to have stuck with me. I was totally into it from day one. The Jeff Beck Group got me going. In fact it was Jeff Beck’s ‘Truth’.

I was thinking, what is that sound? and the reverb, the Les Paul sound, the whole thing. And it all came from listening to my dad’s records. He had an old copy of ‘Beck-Ola’, some Led Zeppelin, Free’s ‘Fire & Water’, and John Mayall’s Blues Breakers album.

Joe seems to have the chops, the sense of place and a truckful of songs to back up the burgeoning fan and media interest in his take on the rebirth of rock-blues. ****Pete Feenstra

Album review (The Ballad Of John Henry, 2009)

Following ‘Sloe Gin’ (the live tour CD was reviewed by Joe Geesin) Bonamassa released another commercially successful crossover album ‘The Ballad Of John Henry’ which Feenstra thought displayed “not just as a measure of the startling career development over the last 5 years, but simply as a window on the direction in which he is currently taking the blues. And if that really is the question to be asked of all blues practitioners, then this album answers in the best way possible offering a palette of differing hues and colours.”

Joe Bonamassa told Jason Ritchie in 2005, when asked who he would like to share the stage with: “Eric Clapton…is to me as Robert Johnson is to him…He was the one that introduced me to the blues. I heard John Mayall and the Bluesbreakers and was floored. I would love to share the stage with him just to show him what he taught me.”

Photo: Christie Goodwin

2009 was in fact capped by a guest appearance from his long-time idol Eric Clapton during his first visit to Royal Albert Hall. But the year also marked the formation of Black Country Communion together with Glenn Hughes, Derek Sherinian and Jason Bonham. The band’s debut album was released in 2010. It was a more rocky diversion for Bonamassa.

Pete Feenstra chatted to Joe Bonamassa following the release of Black Country Communion’s second album, and before their appearance at the High Voltage festival in 2011.

Keith Thompson’s extensive review identified the key selling points: well crafted songs, great playing and not least riffage aplenty. Over time, and with three more studio albums, the band drifted apart mainly due to Bonamassa’s solo commitments but there is talk of a new album in 2023.

Photo: Lee Millward

Reviewing the gig at Manchester Apollo in October 2010 David Randall noted “Looking round here tonight, there was a healthier number of younger faces in the audience and if a younger generation discovers Free and Led Zeppelin via a 33-year old New Yorker, that can only be good too.”

Two years later Randall underlined an increasing phenomenon and a certain irony: “The concomitant of bigger venues means bigger prices. It is a shame then that the bulk of the audience tonight were ‘of a certain age’ and that the £30 plus tariff may preclude younger fans witnessing a modern day hero live.”

David Randall chatted to Joe Bonamassa in May 2010 following the release of his ‘Black Rock’ album

Since 2006′s You And Me Bonamassa had been working with top producer Kevin Shirley who he credits with developing his style, arrangements, and introducing him to different material.

‘Black Rock’ again showcases Joe Bonamassa, as a restless talent in harness with his intuitive producer Kevin Shirley and between them they stand proudly at the very top of the Rock/Blues summit **** Pete Feenstra

Album review(Black Rock, 2010)

In 2011 Pete Feenstra wrote that “Joe Bonamassa diversifies his musical palate, an album that explores rock, blues, roots.

“‘Dust Bowl’ probably doesn’t have the inherent musical coherence of its immediate predecessor ‘Black Rock’ and doesn’t, like ‘Sloe Gin’, offer the concise Bonamassa calling card. But when you’ve taken several giant career steps from cutting 12 solo albums before your mid 30′s to topping the Billboard Blues chart, then you set yourself new challenges along the way.

And in that respect this album is the next logical step in its exploration of different musical directions, different tones, different vocal approaches and above all the development of his song writing.

“‘Dustbowl’ is also an album shot through with musical history from the opening, timeless bluesy train-time rhythm of ‘Slow Train’ and the Jethro Tull style intro and Zeppelin bombast of ‘Black Lung Heartache’ to the trad blues filler ‘Watch Yourself’, the BB King styled ‘Sweet Rowena’ with Vince Gill, and the Bonamassa/Glenn Hughes duet on a reprise of Free’s ‘Heartbreaker’.”

During his tour in October 2011 he played two nights at the Hammersmith Apollo which Feenstra thought “was part of a significant step into arena level popularity…

“In short, Joe is every bit the new guitar hero for a generation of fans of a certain age. And while Heavy Metal provides the chops and visceral excitement for a younger generation, Joe pushes the retro button cleverly by reshaping rock-blues in his own post Zeppelin image.”

David Randall, reviewing a gig at Liverpool Echo Arena in October 2012 noted the setlist: “…with a very high proportion of covers, again satiating those who look back to the smoky clubs of the sixties for their blues inspiration.

Bonamassa has always openly paid his dues to his Brit-blues heroes but for me this set merely underlined that – like his albums – the true standout originals are thin on the ground. As if to reinforce that, and in a rare exchange with the audience, he joked that it is unlikely there’ll be a ‘hit single’ on his latest album as he proceeded to play the title track ‘Driving Toward The Daylight’.”

The album as whole still works well though in the context of another successful return to the late 60′s blues-rock era that has served Joe so well thus far.
**** Pete Feenstra

Album review (Driving Toward The Daylight, 2012)

For Joe, it’s all about the melody, and, as a singer, I feel so grateful to be working with someone who is so musically evolved. Beth Hart, 2012

Another live album appeared in 2012, Beacon Theatre Live From New York once again took Bonamassa back to his roots but this time spiced with contributions from Paul Rodgers and Beth Hart with whom he also released several joint albums.

In 2013 Pete Feenstra was back in the Royal Albert Hall when Bonamassa performed a four-gig, four-set and four-band career retrospective.

As Pete noted “he was entitled to look a little weary after completing his London residency, performed to a grand total of 14,000 people.” For that authentic feel the guitarist used a number of instruments once held by heroes such as Rory Gallagher, Peter Green, Gary Moore and Bernie Marsden.

Photo: Paul Rodgers

2015′s Different Shades Of Blue took Bonamassa to Nashville and is the first wholly self-penned by the guitarist. When Feenstra saw his gig at Eventim (Hammersmith) Apollo in October that year he commented that whilst it “reconfirms his position as the outstanding guitarist, vocalist, band leader and blues musician of his generation, even if it does feel as if he’s shoehorning too much diverse material into his two hour set.”

And in respect of large audiences amongst the festival events we have covered, the inaugural High Voltage in 2010 and Download in 2014 where Andy Nathan was slightly underwhelmed. Maybe it was bringing the blues to an essentially rock event but Andy’s comments echoed David Randall in 2012: “his unassuming stage presence lacks magnetism”.

Things didn’t get better for Andy at the Albert Hall gig in April 2019 (one of a three night residency) “No-one expects Graham Norton-style repartee from him but greater engagement with an audience that pay some of the most premium prices in the business would not go amiss and personally I would have enjoyed hearing him explain the context and inspiration around his choice of songs.”

Things were better for Simon Dunkerley, reviewing the gig at Nottingham’s Capital FM Arena in October 2015. Simon said: “he recounts his previous visits to the Nottingham area that included the 250 capacity Flowerpot in Derby and The Rescue Rooms, and thanks the 10000 capacity crowd this evening for their continued support.”

The album reinforces Joe’s own style through self penned songs, while harnessing some of his most fiery solos in recent times. As a guitarist, Joe proudly stands at the top of his own mountain to survey the great beyond, while refusing to believe that’s all there is. ****1/2 Pete Feenstra

Album review (Blues Of Desperation, 2016)

Photo: Iain Scott

And by 2016, reviewing Bonamassa’s ‘British Blues Explosion’ tour Live Editor Dave Wilson was in no doubt: “It is easy to see why Bonamassa is revered in blues rock circles, his guitar playing is jaw dropping at times, indeed Alan Nimmo of King King was sitting a few seats along from me no doubt taking some mental notes. It will be interesting to see if in 20 years time the up and coming blues fraternity will be doing a similar tour featuring Bonamassa songs, I wouldn’t bet against it.”

And, returning to the Royal Albert Hall in 2017, after a gap of three years, Dave Atkinson wrote: “Bonamassa’s sharp suit, slick hair and showbiz shaded eyes belie the passion and feeling he coaxes from his instrument. Nobody chucks such a high-spec ceramic kitchen sink at every solo like this guy.”

And Atkinson emphasised “The full-fat, high cholesterol Bonamassa experience in 3D. A performer at the peak of his powers. Long may it continue.” This tour was commemorated on a CD/DVD release in 2018.

His career so far has embraced rock, blues, soul, world music, jazz-funk and acoustic music. And the mission statement of this album seems to be to expand his rock/blues template further into related musical areas, though you suspect with producer Kevin Shirley at the helm, he will never let go of the Zeppelin fetish that has permeated much of his career so far.‘Redemption’ is built round song-led material that leaves plenty of room for big horn arrangements and significant solos that are always an essential part of the song.**** Pete Feenstra

Album review (Redemption, 2018)

Photo: John Hayhurst

By 2019 and on the eve of a two year interregnum due to Covid, Bonamassa was releasing his 17th live album Live At Sydney Opera House. It perpetuated the marketing strategy and close career management that developed over a 20 year period.

Pete Feenstra summed up: “If his strategy is to put out as much product as possible to retain media attention, he is obviously on track. And whatever the reservations about the avalanche of recordings this album leaves us in no doubt about the quality of the music.

Putting aside questions regarding “never mind the quality, feel the width”, Bonamassa has also worked hard to become a big ticket draw, and on the evidence of a performance like this, he’s worked equally hard on his own artistic development.

He’s teamed up seasoned industry song writers, and forged an ongoing writing relationship with James House (5 tracks feature here), while notably improving his vocals and testing his chops to the max in a big band setting.”

‘Time Clocks’ is infused with reflective songs – a function of a self proclaimed midlife crisis – but counterweighted by the kind of steely, restless determination that has projected him from being a child prodigy to international rock-blues stardom.**** Pete Feenstra

Album review (Time Clocks, 2021)

Aside from preparing his 15th studio album, during Lockdown Bonamassa embraced the trend for livestreams but as if to underline the need for reality and a grand stage he returned to the Royal Albert Hall in May 2022 when Dave Atkinson wrote: “For this reviewer’s money (and as a tight-arsed Yorkshireman, this is not said lightly), Bonamassa is getting better.

Previously the songs could feel like they were mere platforms for another face-melting solo. Tonight, the depth of material, thoughtful arrangements, quality of the musicians and respectful inter-play between them gave a rounded, intense and fully-immersive experience. 130 minutes had flown by. Absolutely stunning.”

It is Bonamassa’s versatility, his championing of the blues but venturing into other styles, that has characterised his work in the millennium allied to matured vocals and songwriting. But most of all he has revisited and reshaped the blues for a millennium audience, and not least been proactive with music schools via The Blues Foundation in the USA.

Bonamassa’s latest live album is released in April 2023 to be followed by a UK tour in May.

Bonamassa is active on social media in spite of trolls. But his Twitter description suggests soul searching and a realisation of artistic mortality: “There are two letters that separate infamous and famous, I am not sure what applies to me anymore. Sell by date: 11/08/2039”.

16 more years of blues/rock greatness ain’t too bad.

Story coordination: David Randall
Contributors: Dave Atkinson, Pete Feenstra, Joe Geesin, Alan Jones, Andy Nathan, Steve Janowicz, David Randall, Jason Ritchie, Keith Thompson

UK Tour dates

9 May Bournemouth BIC
10 May Blackpool Opera House
12 May Leeds First Direct Arena
13 May Newcastle Utilita Arena
14 May Birmingham Utilita Arena

Featured Artist: JOSH TAERK

Since early 2020 Josh has been entertaining us with exclusive monthly live sessions, streamed via Facebook.

Next session: Sunday 19 January

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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 24 November 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 26 November 2024.

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Power Plays w/c 9 December 2024

In this sequence we play ‘The Best of 2024′ GRTR! reviewer selections

Featured Albums w/c 9 December 2024

09:00-12:00 The Best of 2024 (Melodic Rock)
12:00-13:00 The Best of 2003-2024 (Melodic Hard Rock)
14:00-16:00 The Best of 2024 (Singer Songwriter)