Provogue [Release date: 16.05.25]

‘Come And Find Me’ the album title of Robin Trower’s 28^th solo album has an almost challenging tone to it.

It suggests an uncompromising master guitarist and song craftsmen who is very well aware of his enduring niche.

And over the course of 11 tracks he quickly reaffirms his high standing as he uncorks deep grooves and fills them with meaningful narratives, sonic mastery and cosmic vibrations.

Trower is an artist who has little to prove, except perhaps to share the enjoyment of still reaching the kind of high standards that many would still love to emulate.

It’s an album that’s interwoven with the kind of spiritual exploration a Zen master might relate to, by simply being in moment rather than worrying about extraneous circumstances.

And while Trower’s commercial imperative may have long gone, his commitment to his craft remains steadfast, meaning his consistent approach still draws existing fans to his unique approach and sound.

If there is the slightest suggestion of adhering to any semblance of the formulaic, it’s possibly the inclusion of the evocative husky vocal style of Richard Watts, who offers a distance reminder of James Dewar and a huskier version of the soulful Davey Pattison.

Not only do the vocal parts feel strangely familiar, but the band’s respective roles adhere to an enduring template in which Trower creates enveloping tone drenched soundscapes, while the respective vocalist delivers the narrative.

Trower has also explained that this album represents; “a snapshot of his situation and world view at that moment.” And in that sense his guitar playing might also be compared to a painter whose different brushtroke applications gives a nascent piece of work its depth.

You could argue he often obfuscates clarity in a mix of lyrical eclectcism and an aching tone, though most long term fans will happily settle for that, and here he contents himself with offering us portals of his creativity.

This is particulalry so on the opening ‘A Little Bit Of Freedom’ which is essentially a mission statement of independent defiance: “I don’t need no one to think for me, Or telling me what’s on my mind.”

Musically it offers teasing moments of his signature sound and sculpted wah-wah.

He’s in his element on the undulating ‘One Go Around’ which is a trademark understated Trower track. He let’s his tone rise, float and hover over a cool groove, while his wah-wah inflections resemble a master chef judiciously adding just the right ingredients to a simmering pot, brought gently to the boil before a lowering of the flame.

In musical terms this is represented by a sudden deep tone fade.

Everything has it place. And having made his presence felt, he quickly moves on to other aspects of his psyche and sonic armory.

On ‘I Would Lose My Mind’ his guitar cleverly shadows Watts’s vocal lines in an interwoven conversation, completed by a carefully chosen intense guitar solo, full of long linear notes with a perfunctory ending.

The title track is closer to his ethereal 70’s sound, with the kind of meditative feel we have come to associate with his latter day work.

Listen to the outstanding ‘Take This Hurt Away’, on which a familiar big toned intro leads into a languid groove ,which it glues together an angst ridden voice and his guitar parts. The latter sit just behind the vocal line to subtle effect.

A cool drop down at the 2.00 minute mark, serves to refocus our attention on his guitar tone and reinforces the deep emotion of the song while leading back to the repeated catchy hook

There’s no excess baggage here and never a note or flurry wasted.

Trower has always sought to express emotion through the triumvirate of guitar, amp and whichever vocalist he’s working with, since seemingly abandoning the task himself.

Happily, Richard Watts husky phrasing intuitively taps into lyrical meaning and underlying feel. This is very much so on the shimmering ‘The Future Starts Right Here’, complete with RT’s gnawing tone.

The addition of Jess Hayes on the wah-wah laden and old school r&b feel of ‘Tangled Love’ brings some unexpected vim and vigor to Trower’s extant style.

And as the album progresses, it starts to feel like pages in a diary in which the underlying chronology is interspersed with subtle diversions, of which the elegant ‘Capture The Life Begun’ is an exercise in subtle restraint.

‘Without A Trace’ is more of a brooding groove on which the music cleverly amplifies lyrical intent. And it’s that essential connection between his expressive guitar tone, subtly crafted arrangements and meaningful lyrics that serve him so well

The reflective nature of the album isn’t simply a corollary of life experience, but rather his more pressing unease at the world around him.

But there’s always hope, as evidenced by the Hendrix style intro to the intricate ‘Time Stood Still’, a defining, feel drenched love song on which Watts excels himself.

He digs deep to make an emotive connection with a song that Trower might rightly regard as one of his very best.

The slight pause at 2.05 minute mark, creates a breathless tension, which Trower resolves with the kind of aching soulful solo which lies at the heart of a deeply personal album.

Rock fans who still have the attention span to listen to an album in full will be richly rewarded. ****

Review by Pete Feenstra

Featured Artist: JOSH TAERK

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Power Plays w/c 7 April 2025

SEVEN BLOOD To The Unknown (indie)
FROM FALL TO SPRING Incomplete (Arising Empire)
POP EVIL Side Effects (MNRK Heavy)
ERJA LYYTINEN Abyss (Tuohi Records)
SKY VALLEY MISTRESS Too Many Ghosts (New Heavy Sounds)
RED GIANT Free Me (indie)

Featured Albums w/c 7 April 2025

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

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