In Glenn Hughes’ distinguished and chequered career, his time in Deep Purple is a gift that keeps giving. Songs from his tenure with them have always formed a big part of his solo shows and indeed for many years (until Whitesnake’s controversial ‘The Purple Album’) that was the only opportunity to hear those Mark 3 and 4 songs interpreted by one of their creators.

Five years ago he then he undertook a ‘Classic Purple’ tour which I saw at this very venue: unfortunately a further tour fell victim to illness, and by the time we emerged from the pandemic he was back in a band camp with the Dead Daisies, not an obvious fit for either party.

Finally he has reverted to another Purple tour, billed as marking the 50th anniversary of the ‘Burn’ album, narrowly technically true I guess as while released in 1974, it was recorded the year before. Another packed house at the Electric Ballroom proved that the Purple name shifts more tickets than a purely solo show, even if hearing the likes of Trapeze and Black Country Communion over the PA was a reminder quite how much more he has achieved in that career.

First up was another welcome return visit to the venue for The Damn Truth, who I saw supporting King King over 18 months ago. The same ingredients were all present and correct: the powerhouse howl and winning smile of petite singer Lee-La Baum, a musical and fashion style inspired by the late sixties and early seventies glory years, and a dynamic stage show full of taut power and energy.

However as they opened with the anthemic ‘This Is Who We Are Now’ it was clear that their assurance and ability to own the stage had taken a step forward from that initial visit to the UK. Although Grace Slick is a natural comparison (not least as they come onstage to Jefferson Airplane) Lee-La’s soaring but clear vocals reminded me at times of Ann Wilson.

On ’Lonely’ she got a crowd clapalong going, while ‘Only Love’ was more melodic and ‘Look Innocent’ was only the best example of the major contribution by the prominent bass lines of PY Letellier complementing some concise but aggressive riffs and solos from guitarist Tom Shemer, who I couldn’t help thinking had the looks of a young Marty Feldman crossed with a Hawkins brother from the Darkness.

By the time they ended with ‘Get With You’ and ‘Tomorrow’, an audience of Hughes and Purple fanatics that might have been hard to please responded very enthusiastically. Provided their songwriting develops and gains a more distinct identity of its own, I suspect this dynamic show will be a headlining one before too long.

Taking the stage to a psychedelic looking backdrop and an image of his seventies self, Glenn Hughes looked ever the rock star with his shades, luxuriant curly mane and a flamboyant velvet-like suit. He opened in fine style with ‘Stormbringer’ and though I thought I heard the odd flat note, I wrote it off to early sound problems and reassuringly that unique voice with its striking falsetto was on top form for the rest of the night.

There was a new musical accomplice in the ponytailed Bob Fridzema who opened with a few bursts on a miniature synthesiser, but the rest of the song was classic Purple, from the solo from longtime sideman Soren Andersen on a Stratocaster even Rory Gallagher would have rejected as being too battered, to a Hammond organ solo.

‘Might Just Take Your Life’ saw plenty of people punching the air to the chorus while there was another splendid Hammond solo from Bob. He has been a constant sight in the current blues rock scene as the go-to keyboard player but I’ve never seen him look as if he was enjoying himself quite as much as he was on this occasion, interpreting the work of the late great Jon Lord.

‘Sail Away’ saw Glenn on top form – and we mustn’t underestimate the ease with which he handled the ‘Coverdale’ vocals side by side with his own, aided by some good backing vocal support, while Bob dabbled at greater length on that synthesiser, adding to the comparisons with Stevie Wonder’s early 70s funk glory period.

It wasn’t just these songs that were being revived but the lost art of the jam, as the next three songs in the set extended to nearly an hour in total! ‘You Fool No One’ featured various solos including an extended one from drummer Ash Sheehan, a powerhouse full of manic energy with a big grin on his face, and an all too brief snatch of ‘High Ball Shooter’. ‘Mistreated’ saw Soren and Bob show off their bluesier chops and near the end Glenn’s falsetto screams were little short of breathtaking.

After a tribute to Tommy Bolin came that classic riff that kicks in ‘Getting Tighter’, the best proof that the funk-tinged ‘Come Taste The Band’ was an album before its time. Initially I was dismayed it went off into another jam but the sheer quality of the musicianship won me over – indeed this is surely the best of the many fine bands Glenn has assembled. As things belatedly became more concise and the jams were reined in, the main set finished in style with ‘You Keep On Moving’, possibly the finest moment of the Hughes-era Purple.

The first encore of ‘Highway Star’ did not feature the Joe Bonamassa guest appearance we were treated to last time, but a guest player on bass released Glenn to concentrate on singing the only song from outside his Purple era and a very good job he did too amidst the sterling musicianship you would expect to do the song justice. The inevitable finale had to be a slightly raw but equally storming version of ‘Burn’.

Though the jams and anecdotes had taken the set to nearly 2 hours and some way over curfew, no one could complain, especially as the generosity of spirit Glenn showed both in paying tribute to former and current bandmates and thanking the fans was quite touching.

Among his revelations were that this tour will continue for another year after which he promises to make a new album with this line up. After an evening which confirmed his status as one of rock’s most legendary survivors, those are both appetising prospects.

Review and Photos by Andy Nathan

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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)