Share the post "Gig review: JOHN REILLY AND LEWIS NITIKMAN – Crazy Coqs, London, 16 April 2025"
John Reilly and Lewis Nitikman are a partnership of talented musicians, one born and raised in Liverpool and the other a Canadian, who met in Toronto and are now domiciled in Sheffield. Both are original songwriters, with John the lead singer of Boy On A Dolphin who were signed to Atlantic Records in the early nineties and then having collaborated with Lewis on a well-received solo album ‘Zebulon’. However, their current live activity focuses on shows dedicated to the music of Billy Joel and Elton John.
This prestigious Central London show- in the Crazy Coqs cabaret venue attached to the art deco ’ Zedel’ French brasserie in the heart of Piccadilly- had the strapline ‘Two Rooms’ and was focused (though not exclusively, as we shall see) on the songs of Sir Elton and Bernie Taupin, with both performers admitting their deep love for this body of work and how it had influenced them.
While not a traditional tribute act as such, John did bear a passing resemblance to latter-day Elton in baseball cap, thick black glasses and a spangly jacket. Opening with ‘Circle of Life’, the duo filled out the sound to closer to a full band, Lewis playing bass synth pedals as well as piano, and John percussion much of the time, be it timpani or an African djembe.
On ‘Candle In The Wind’, it really stood out in this intimate environment how John’s vocal phrasing and the way he controlled his breathing really captured the timbre of Elton’s voice in its various ranges. With the great man himself officially retired from shows, this may be as close as you can get to hearing the songs delivered as they should be. After I guess ‘That’s Why They Call It the Blues’, ‘Your Song’ saw Lewis switch to the venue’s grand piano, putting to the test their joke that they were reluctant for people to sing along and, if so only in tune.
That love for Elton and Bernie’s songs showed in a varied setlist that covered the full range of his long career. Alongside familiar favourites like ‘Tiny Dancer’ and ‘The One’, there was a generous selection of seventies album cuts. These included ‘Have Mercy On The Criminal’ with percussion and piano creating a very atmospheric sound, ‘Burn Down The Mission’ and ‘Mona Lisas and Mad Hatters’.
However, in a departure from the theme of the evening, the pair dramatically, and brilliantly, reinterpreted Cher’s huge dance hit ‘Believe’ as a big slow ballad. Perhaps encouraged by that, a visitor from Hong Kong piped up to request ‘Arthur’s Theme’ by Christopher Cross and the two produced an authentic shortened version at the drop of the hat, which was as much proof of their talent as delivering the advertised programme.
Getting back to the theme of the evening, the extended intro of ‘Tonight’ was the perfect vehicle to appreciate Lewis’ piano playing, but with two shows a night in the venue, they were up against a short timescale so it was back into hits territory for those off-kilter melodies of ‘Bennie and The Jets’, and a medley of ‘I’m Still Standing’ and ‘Sacrifice’.
Finally, they sneaked in an encore which appropriately was ‘Rocket Man’. The show was not only a treat for Elton John fans but the way they breathed their heart and soul into his and Bernie Taupin’s songbook (plus the odd surprise) was a taster of how much these two talented musicians can offer.
Review and Photos by Andy Nathan
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