Robbie McIntosh - Sound Lounge, Sutton

In a world of over-hyped musicians and guitarists, Robbie McIntosh is a timely reminder of the virtues of taste, tone, lyrical ability and humility.

Here’s a guitarist with a musical CV that many could only dream of (Paul McCartney, The Pretenders, Tears For Fears, Mark Knopfler, Talk Talk, Daryl Hall, John Mayer etc) and yet the image on his truly excellent ‘Emotional Bends’ album is that of a dark shadowy figure with guitar in hand heading for the margins.

Live at The Sound Lounge in his home town of Sutton, he cuts a relaxed figure who revels in his band’s interplay and a tone laden and percussive feel.

He has the priceless ability to musically evoke his own lyrical landscapes, which combined with a natural story telling ability makes you quickly realise we are in the presence a consummate musician.

Pre-gig he mingles with the crowd before suddenly plugging in on a compact stage that just about manages to accommodate his 7-piece band and multiple guitars.

He weaves his way through an opening groove with a mellifluous vocal and sweet guitar tones.

He draws on his own solo career for most of the material, albeit deep into the set he reminds us of the propulsive guitar part that helped propel The Pretenders ‘Don’t Get Me Wrong’ into the charts.

And though he showcases his own sumptuous playing ability and underestimated song-writing talent, he’s more than happy to let his majestic band sparkle.

He jokes about mistaking his set list for a shopping list, when in fact he’s busy pulling together some wonderful ensemble playing, with keyboard player Stephen Darrell Smith adding organs swells and fleeting bv’s, alongside Hannah Robinson who contributes two of her own songs, most notably the evocative “Holding Up The Sky.’

There’s a restless feel to the breathless ‘Emotional Bends’ title track, on which his rhythm section of Paul Beavis (drums), Steve Wilson (bass) and Kokomo percussionist Jody Linscott provide the perfect platform for some hot picking.

He dips into the same album for ‘Scarecrow’ – a wonderful meeting of his own playing ability and whimsical lyrics – the chiming ‘Rollaway’, which is bolstered by a catchy train- time shuffle beat and Pete Hope-Evans harp tone, and the uplifting melodic sweep of ‘Joe And Me’ which features another Smith organ break and Hope-Evans county tinged harp.

He updates his musical output with a brace of songs from ‘Seaworld’, the title track of which has an ecological bent, poignant lyrics and the kind of feel that might easily fit a Wes Anderson movie.

The jangling ‘3 Into 2’ is an unlikely meditation on a ménage à trios, given extra purchase by the repeated chorus and Robbie’s exquisite tone and extended outro riff.

He also changes guitar again for the Hawaiian sounding ‘So Naïve’ on a beguiling slice of Americana.

The corner stone of tonight’s gig is the subtle use of dynamics and everything comes together on a cover of Freddie King’s ‘See See Baby’.

The band stretches out with Robbie in his element on flowing lead runs. Pete Hope-Evans is on tip toes to bend some unlikely notes, flanked by Smith’s organ fills and Jody’s insistent percussion, which helps fill the room with a mix of frisson and jivers.

There’s another magical moment on the atmospheric ‘Hanging On The Line’ on which Robbie’s mix of growling guitar squalls, slide inflected tones, volume swells and sustain rises up to the ceiling, before the inevitable decay gives way to the funky percussive back beat.

It’s an atmospheric feel that brings the room to a hushed reverence, before the cathartic release of applause and cheers.

There’s also the title track from ‘Turn Up For The Books’ which has a lovely lilting feel and wah-wah touches.

A mention too for drummer Paul Beavis, whose nuanced phrasing and lightness of touch glues together deep grooves, well crafted songs and exquisite band interplay.

It’s all topped perfectly by Robbie’s array of guitars, each of which have a story to tell and a tone to explore.

Review by Pete Feenstra

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