Touring the UK for the first time in eleven years, Philip Sayce has drawn a crowd that stretches way back past the entrance to the Garage, despite it being a cold, clear November night. With a buzz emanating from the queue that underscores the excitement of the occasion, it’s clear that this is no ordinary gig and, as we enter the venue, the heat is already building, with the steam rising from the assembled throng already swirling in the lights.
As the venue continues to fill, Troy Redfern – easily one of the UK’s hardest working and most talented blues guitarists – emerges to deliver a short solo set that is frequently breath taking. He kicks off with a mix of spontaneous slide guitar and vocalising – recalling Jeff Buckley’s approach to solo shows and just as engaging – before heading into the swampy Waiting For Your Love, his jet black hair flying beneath the brim of his hat during the solo, while a loop pedal provides the backing.
Next up Dark Religion (from Wings Of Salvation) moves from eerie opening to the heavy, heavy slide of the main track, Troy backlit and sounding like a hell-bound preacher. It’s followed by Come On, which has an addictive Delta stomp, while the conclusion sees Tory ringing sheets of feedback from his guitar.
The final two tracks include Sweet Carolina, which is chunky as hell and, with Troy once again employing his loop pedal, rocks surprisingly hard for a solo piece. Finally, we get an almighty Sanctify – delivered with stoner rock fury but blues soul. With its soaring climax veering into art rock territory as Troy’s guitar swoops across the backing, he eases it back to the blues for a final chorus before taking his leave. It provides the perfect end to a near perfect set and, once again, Troy has the good sense to leave the audience very much wanting more.
A short break provides just enough time to visit the bar before Philip Sayce takes to the stage alongside his crack band of bassist Sam Bolle and drummer Bryan Head. With an understated “Are you ready? Let’s go!” Phil unleashes a blistering solo and then kicks into Out Of My Mind – an up tempo rocker with blazing guitar and killer hooks. He even interpolates Ode To Joy, before an extended Hendrixy outro brings the first song of the night to a delirious end, the audience barely able to contain their whoops of delight at the stunning guitar work on display. A short solo break whips the audience up still further, before the heavy, Dan Patlansky-style funk rock of Powerful Thing truly sets the room alight.
From here, the pace does not dip for one moment. The huge drums of Bitter Monday get the crowd clapping along, while the track itself heads into smooth Robert Cray territory, complete with a fantastic, rippling solo that lays off the distortion, but which offers amazing pace and style. Later, of course, Philip brings it all back, and the fireworks are real this time.
Another track from Spirit Rising follows in the form of Once, which is touchingly dedicated to Philip’s late father, who passed away during the difficult months of the pandemic. A slower, cleaner blues albeit with psychedelic guitar textures building to some tumultuous lead, it’s a monumental tribute to an important figure in Philip’s life.
Next, we get a pair of covers – Don Covay’s Blues Ain’t Nothing But A Good Woman In Your Mind and Muddy Waters’ Standin’ Round Crying, the latter segueing directly into instrumental bruiser Aberystwyth. Then there’s Beautiful, dedicated to his wife, which is a funky pop-rock-blues jam. As an additional treat, we get the frantically brilliant new single Oh That Bitches Brew, delivered with wonderful energy.
With the venue now literally heaving, Philip offers up another track written for his late father. 5:55 is a contemplative instrumental with dizzying leads, which build to a set piece solo, with Philip playing unamplified. While a few wrongheaded souls in the audience attempt to carry on a conversation, they’re soon told to shut it by the predominantly appreciative and respectful crowd, and we’re treated to a masterclass in virtuoso guitar playing. Nor are the surprises finished for, during a lively Morning Star, we get to see Philip unleash a rollicking solo, his fingers wrapped somewhat implausibly in the towel he was using to remove the most obvious traces of his exertions. It leaves crunchy finale – a cover of Hendrix’s Spanish Castle Magic to see out the main set in style.
Returning for the obligatory encore, we get a particularly special moment as Philip brings Troy Redfern up for a John Lee Hooker cover, which sees the two gunslingers trading riffs with gusto. With the audience collectively losing their minds, seeing these two guitar giants sharing the stage leaves a lasting impression and the chemistry between them is a joy to behold. To close the night, we get a lightning fast rendition of I’m Going Home, before we find ourselves wondering out into the cold night air, largely stunned by what we’ve just witnessed.
There are certain nights where you attend a gig and you just know it’s one for the history books. This is one of those gigs. A genuine “I was there” moment, from the electrifying atmosphere to the world class musicianship, Philip and Troy tore the roof off The Garage and it’ll be some time before there’s another blues rock gig to touch it.
