One of the most talented, hard-working, and straight up dedicated blues musicians currently treading the boards, Joe Bonamassa has never shied away from old-school graft, honing his skills over the course of countless tours, always seeking that same ineffable quality that drew him to the blues in the first place.
His dedication has paid off. Few artists can lay claim to a catalogue quite so consistent in its quality. Yet, consistency does not equate to comfort. There are vast differences from album to album, with Joe frequently seeking to push himself in new directions, often with spectacular results.
Which brings us to Breakthrough, Joe’s seventeenth album and one that finds him ringing the changes once again. It opens with the title track, a massive-sounding blues rocker that, while still recognisably Joe, adds stadium-sized depth to the heavy groove that powers it. It’s tracks like this that make you fervently wish that Joe would, at least occasionally, dispense with the seats at his live shows because, seriously, how the hell can you be expected to stay seated for a track like this? Even on record it has you pacing the room and, by the time Joe’s fiery solo lands, only the dead or the clinically immobile will remain in place.
As if to prove that the opening number is no fluke, Joe launches himself at Trigger Finger with a force that recalls both his beloved Freddie King and AC/DC, the grinding riff offset by a more dynamic verse that has Angus Young written all over it. While no one has ever doubted Joe’s ability to rock (The Ballad Of John Henry on its own is enough to put that argument to bed), it’s great to hear Joe letting rip with such vigour, and you can imagine both the usually impassive Joe and his band smothering grins throughout the recording session.
It’s back to a more classic blues with the easy swing of I’ll Take The Blame, although there’s nothing light touch about the gritty solo that flashes across the surface of the track like a trail of gunpowder. Still, with slinky keys and a great vocal, it’s a track that’s set to become a live favourite in years to come. That classic vibe remains on Drive By The Exit Sign which, with its nods to the Pointer Sisters, has an irresistible groove, complete with howling lead breaks and another sublimely confident vocal from Joe who, by this point is so firmly in the zone, you ‘re already wondering if this album might not be a career best for him. Certainly, that impression remains as he wraps the first half up with an epic length and battered ballad – Broken Record. Harking back to the equally bruised Redemption, it’s a beautifully rendered slow blues complete with Floyd-aping mid-section, highlighting Joe’s increasing confidence when it comes to throwing progressive flourishes into his work.
Opening the second half of the album, Joe surprises the listener once again with the light-touch Shake This Ground, which sits somewhere between David Gilmour’s solo work and Joe’s own acoustic excursions. A lovely song with an addictive melody, it provides something of a reset after the dark musings of Broken Record, with the airy backing vocals really helping the track to soar. It’s followed by the slinky Still Walking With Me, which has an 80s pulse, capturing the sheer ebullience of that era, while adding modern production to the mix.
Slowing the pace once more, Life After Dark finds the strength in emerging from emotional turmoil, and it’s a powerful piece indeed, delivered with rare vulnerability for all of the soaring leads that pepper its surface. However, you can’t keep Joe down and the storming You Don’t Own Me comes roaring out of the gates with a blistering riff and punishing beat. A hard rocking blues monster, it’s one hell of a statement of intent, and it’s easy to imagine the trademark sunglasses cast aside in a rare display of direct confrontation. The album wraps up with another slinky number – Pain’s On Me – which nods both to Joe’s own Moving On and Robert Cray. Another strongly memorable moment on an album packed full of them, it’s the perfect conclusion to a superlative record.
As noted, Joe rarely (if ever) disappoints. Even so, Breakthrough is a particularly strong set – arguably his strongest since Dustbowl, with not a moment wasted. Everything is here – classic blues, hints of soul, punishing hard rock and, of course, stunning guitar work. However, none of the above would matter if it wasn’t for the heart and soul that Joe and his band bring to the mix – and this they have in spades. There’s something about Breakthrough that just feels lived in, as if Joe had no choice but to clear out the emotional closet, and the result is a record that forms a visceral connection with its audience. What more is there to say? Breakthrough is a masterpiece. 10/10
Joe Bonamassa’s new album “Breakthrough” is released by J&R Adventures on July 18th and is available from https://lnk.to/JoeBonamassa (UK) and www.jbonamassa.com (USA).
