It’s on night’s like this, looking out at the hushed and expectant crowd crammed into a sold out Royal Albert Hall, that you realise that Joe Bonamassa, much like Eric Clapton, has somehow managed to make this esteemed venue his spiritual home. Returning for the second show of a two-night residency, Joe is touring in support of his stunning Blues Deluxe Vol II and tonight’s set, barring a few notable exceptions, predominantly comprises covers. Not that you’d necessarily know it, for Joe has the natural blues player’s ability to absorb influences and mould them into something that’s all his own – as he does frequently and brilliantly across the night. With six of Blues Deluxe’s ten tracks aired tonight – four covers and the two original compositions – as well as highlights from across Joe’s storied career – it is, as we have come to expect, an energetic and engaging set from this exceptionally talented guitarist.
The night kicks off with one of the two original cuts from Blues Deluxe Vol II – the stunning Hope You Realize It (Goodbye Again), which was written in collaboration with the legendary Tom Hambridge. Warm and full of life, it sees Joe rocking his red SG, and the track offers lead breaks for both Joe and the legendary Reese Wynans, eliciting cheers from the rowdy crowd early into proceedings. The gold top comes out for the smoother Twenty-Four-Hour Blues, which has a gorgeously smoky solo, while the old-school whiskey-bar blues of Well I Done Got Over It, initially led by Carl Carter’s drums and Calvin Turner’s slinky bass, builds to a hulking great solo (eliciting more spontaneous applause), before dropping right down to the bare bones, Joe’s grasp of dynamic as potent as ever. However, it’s the show-stopping Self-Inflicted Wounds that really causes the audience to draw breath. A stunning blues-prog hybrid, it has a Floyd vibe, not only featuring some gorgeously understated guitar work from Joe, but also a dizzying lead spot for Jade McRae, who digs deep to deliver a vocal worthy of Clare Torry. In contrast, the breezy I want To Shout About It shoots past, with Joe, Josh Smith, and Reese swapping solos, the latter unable to remain seated during the performance, and seen rocking out in the second half.
Taking another moment to simply floor the willing audience, Joe offers up the sublime The Last Matador Of Bayonne, a recently released single that has a strong Clapton vibe and truly heart breaking melodies. Another moment where you can hear a pin drop in the auditorium, it’s a mark of Joe’s still-increasing prowess that he can take a new song, air it in the massive Royal Albert Hall, and somehow make it feel intimate, with few unaffected by its beauty. However, waiting in the wings is a rocking Breaking Up Somebody’s Home and here we see the other side of Joe, as he blazes away over an extended jam that bristles with energy.
It’s finally time for a short chat and Joe not only introduces the band but also notes the radio broadcast that has been quietly, but nonetheless noticeably emanating from his amp. Joe should be aware that from the outside it rarely, if at all, detracts from the performance, but it’s easy to understand the frustration on stage, although he treats it with his usual charismatic humour. Meanwhile, the raucously received band introductions see Reese receiving a well-deserved standing ovation, while Joe reminds us that this is both the fifteenth anniversary of his Albert Hall debut, and his twelfth overall visit to this special venue.
Another highlight is not far behind, for next up is The Heart That Never Waits (Time Clocks) which, with its insanely addictive chorus, is an absolute gem in the live environment. Drawn out, and given new life by the band, it’s a masterclass in bridging the worlds of rock, pop, and blues, and it absolutely captivates. The home straight includes Josh Smith’s excellent contribution to Blues Deluxe II – Is It Safe To Go Home, and Fleetwood Mac’s Lazy Poker Blues, both of which are dispatched with vigour, but it’s the tumultuous finale of Just Got Paid that has the whole audience on their feet. From front to back, the RAH is a seething mass of people, all brought to boiling point by Joe’s incendiary and massively extended take on ZZ Top’s blues-rock masterclass. With a thunderous drum solo from Carl, lead breaks for all, and elements of Led Zeppelin interpolated into a monstrous jam that ebbs and flows, it sees Joe in full-on rock god mode and it ends the main set with the band in something of a frenzy.
Of course, we’re not quite done yet and Joe brings the night to a close with the evergreen Mountain Time, just as he did fifteen years ago. Truly, it doesn’t matter how many times this song gets aired, it never gets tired and Joe, ever the professional, still plays it like it’s the first time. What a night! As the audience streams out of the Hall, it’s clear that most are already wondering where next they’ll catch Joe in action, and really that should come as no surprise, for every Joe Bonamassa show is a genuine event, and tonight delivered all the facets of blues, from slow burning to hard rock, in a blazing display of virtuosity that had everyone from front to back singing, clapping and cheering with delight.
