Joe Bonamassa is, by all accounts, the largest blues artist treading the boards today. Surprisingly untainted by his commercial success, his insistence on working with some of the very best names in music, not to mention the fact that he’s kept faith with those same names for some considerable time, has kept Joe grounded when the temptation to commercialise his sound must have been huge.
A compulsive live artist, Joe’s varied approach to set lists means that each and every live release offers something new, in this case a selection of cuts drawn form the exceptional Blues of Desperation album. To add to the sense of occasion, this meticulously edited release is drawn from the legendary Sydney Opera House, which provides extra frisson to the band’s performance. Unlike previous outings, this one’s audio only for the time being, so sadly there’s only the collector’s booklet to provide a visual record (although Joe’s released a number of videos via his Youtube channel), but there’s no question that, for Joe Bonamassa fans, this nine-track collection provides the perfect counterpart to one of Joe’s best albums.
Drawing seven of its nine tracks from Blues of Desperation, the first three following the running order of the album (although not the actual running order of the concert from which this album is taken), Live At The Sydney Opera House gets off to a cracking start with This Train. A track that sees Joe and his band absolutely cook (with a sweet piano prologue courtesy of Reese Wynans), This Train always had a sweeping rhythm, but with Anton Fig pummelling his drums for he’s worth, the backdrop onto which Joe can unleash his wild solos is solid as a rock. It makes for a phenomenal opening and yet, as effervescent as it is, the coruscating beat of mountain climbing (here nicely enhanced by the horn section of Lee Thornburg and Paulie Cerra) still manages to top it, taking the audience (and home listener) to another level altogether. It is the finest one-two punch in Joe’s recording career and playing it live in this way just feels natural. Faithful to the album version, whilst still giving it a grittier, live edge, mountain climbing, with its insanely addictive chorus, is an album highlight. Still sticking to the album order, the eerie, late-night blues of drive is up next, Joe transporting the audience into the open heartlands of America with some beautiful guitar work and a wonderfully understated performance from Anton. Expanding upon the palette of the original and allowing for some lovely saxophone (Joe never shies away from giving his fellow performers an opportunity to shine), drive is almost certainly a perfect example of the live version exceeding the original.
Taking a step away the album for a second, we get a soulful take on Love ain’t a love song (a highlight from Different Shades of Blue), Joe teasing the audience with some bluesy licks before leading his band into the song proper. Eliciting whoops of delight from the audience, love ain’t a love song is another track that benefits from the live prominence of Lee and Paulie, whilst the backing trio of Mahalia Barnes, Juanita Tippins and Gary Pinto also shine in their role here. Next up, it’s back to Blues of Desperation for a mighty How Deep This River Runs. An elegant, emotionally-charged track, Joe gives it his all, and this is one of those tracks that I could happily listen to in any given version over and over again. It may well be one of the best tracks that Joe has ever written and it just strikes a chord, especially when the chorus kicks in with its soaring backing vocals and sweet brass. Eric Clapton gets a look in thanks to an excitable cover of Mainline Florida (from the classic 461 Ocean Boulevard), Joe clearly letting his love of the track shine through, whilst it’s easy to imagine the smiles on the faces of the band as Reese lets loose on the keyboards.
Having comprehensively raised the roof with mainline Florida, Joe and his band slow the pace with the Smokey Robinson-esque the valley runs low, a sweet, soulful number that allows Joe’s vocals a moment in the spotlight. In contrast, Blues of Desperation may start slow, but it soon builds up an impressive head of steam, the subtle eastern elements blending into a psychedelic swirl that is wonderfully enigmatic. With huge Zeppelin-esque riffs, there’s plenty of meat for the band to get their teeth into and it’s easy to imagine the audience on the very edge of their seats as Joe and his band guide them across the varied sonic terrain of the track. It leaves the slinky no place for the lonely to see the album out, the wonderful light and shade of the explosive intro set against the nimble, pared-back verse always a delight. It all builds to a monumental chorus, perfectly sweetened by Reese’s keyboards and the backing trio, and it brings the album to an explosive close.
Taking a different approach to Joe’s previously released live albums, Live at the Sydney Opera House, offers up a single disc, edited down from the sixteen tracks he played that night, to provide a perfect companion piece to the utterly thrilling blues of desperation album. Subtly re-sequenced to more closely reflect the original album’s running order, and with not an ounce of fat, Live at the Sydney Opera House is damn near essential listening, capturing the essence of the album and expanding upon it. With Joe proudly proclaiming, each and every night, that his is the best band in the world, who on this evidence can argue? 9
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