Kris Barras has to be one of the hardest working artists in the blues right now. Not content with the (much deserved) success of his quite excellent debut album (2018’s the divine and dirty), he has been perpetually on tour, found himself fronting the always-brilliant Supersonic Blues Machine (replacing Lance Lopez and recording a live album in the process) and, somewhere amidst all of that, he found the time to record a brand new album. Entitled light it up, the album builds upon the firepower of that firecracker debut and sees Kris consolidating his position as one of the UK’s leading blues artists.
Opening with the Delta stomp of what you get, a swampy, slide-filled blues that flows organically into a glorious, soul-infused chorus, Kris and his producer, Josiah J Manning, have created a richly detailed and expansive album, pitting the sound of John Bonham (circa when the levee breaks), against Kris’s overdriven riffs and slightly-scuffed vocals to grand effect. It’s a blistering opening and the band barely draw breath before plunging headlong into broken teeth, a sparkling blues-rocker, rich in soul and heavy in riffs. Things do slow down a touch on the instantly addictive (and aptly-titled) Vegas son, which recalls propane from the debut, both tracks sharing Kris’ innate ability to take pop hooks and imbue them with the emotional heft of hard blues. The stinging riffs are back on ignite (light it up) which, with its squelchy organ and taut percussion, wastes little time in getting to the point, Kris and his band rocking the audience to the core and yet never losing sight of that vital melodicism that makes his work so utterly mesmerising. The same could be said of 6AM, which has a strong slide riff that contrasts with a subtly wistful vocal that reminds the listener that, for all the rocket-fuelled riffing, this is still a blues record. This is certainly evident on the sweetly contemplative rain, a slower piece which, with its shimmering organ melody and mid-tempo beat, provides a moment’s calm.
Following on the gentle patter of rain, the smooth counterfeit people takes an angry lyric and builds it into a hook-laden pop-rock track that would have blazed through the airwaves in the eighties. As it is, it’s a fine track that will undoubtedly light up the live show and it leads neatly to Let the river run, another track that lulls the listener with an instinctive melody, only for Kris to let loose with a short solo that leaves jaws littering the pavement. The stabbing riffs of bullet have a slight, funky underpinning that is most welcome, whereas the Stones-y wound up returns to the tried and tested slide-driven rock that opens the album. With the cowbell making a cheeky appearance, what a way to go apes the hard rock of the sunset strip with chugging riffs and a fiery chorus, whilst not fading ups the tempo a touch with some sweet riffing. The album concludes with another soulful number, pride is forever, which features a tasteful organ solo, some great guitar work and plenty of gospel-inspired vocals as it brings the record to a close.
As you might expect from a Kris Barras album, light it up is beautifully recorded and exquisitely played. Individually, each track is excellent, although it’s arguable that the album as a whole doesn’t quite to have the variety of pace found on the debut. Which is not to say there isn’t a huge amount to enjoy on light it up – the soulful backing vocals, the wide-eyed choruses and the exquisite musicianship are all a joy to behold and further evidence that Kris Barras is one of the country’s leading talents. His remarkable feel for the guitar, coupled with his passionately delivered vocals make for an enthralling listen , and there are a number of fantastic tracks on light it up which are destined to become mainstays of his live set for years to come. Highly recommended, but there’s a feeling that he can climb to even greater heights. 9
