With some artists, seeing them twice in the space of just a few months may seem like an extravagance, but with Walter Trout it’s more or less essential. Whereas most artists have set lists which they stick to like glue, Walter and his band who have been together for some twenty-seven years now, steadfastly refuse to acknowledge convention. Instead, they play according to Walter’s mood, spontaneous and fuelled by the spirit of the crowd, with the result that, although some standards may reappear night after night, you never truly know what you’re going to get, or in what order. Unsurprisingly, tonight’s set has its core in the recent epic ‘battle scars’, but it’s a remarkably different set to the one we caught earlier in the year.
From the moment Walter and his band (Sammy Avila – keys, Johnny Griparic – bass and Michael Leasure – drums) step on stage to a roar that echoes around Rock City, it’s clear that we’re in for one hell of a ride. The glow that has surrounded Walter ever since he returned to the stage remains fully intact, and there is truly nothing more life-affirming than watching this great artist tear into his guitar with all the passion of a twenty-something on his first ever tour. Walter’s luminosity is infectious and not only are his band along for the ride, but the audience too. The electric atmosphere powers a muscular set tonight. From Walter’s battle cry of ‘let’s rock!’, which leads into a ferocious take on ‘out of control’, the stage is a blur of motion. It’s a paint-stripping version to which we’re treated and it comes as some relief when Walter leads his band into the beautiful ‘say goodbye to the blues’, now (and, one suspects, forevermore) repurposed as a heartfelt tribute to B. B. King, a man Walter is proud to call his friend. Watching the interplay between the band members, all of whom look thrilled to just be on stage alongside Walter, is an absolute joy and as Walter leans gently into a solo that gazes into the heavens, you can feel the love he has for his departed friend tempered by a thankfulness for having had the opportunity to share some time with him.
Having ignited the crowd, Walter takes a moment to introduce the story behind ‘Battle Scars’. It’s a harrowing story told in a manner that is both poignant and yet filled with humour, and we’re soon into the powerful opening track form that album, ‘I’m almost gone’. It may tell the tale of a man facing death, but musically there’s a spirit and vitality that is undoubtedly the work of a man who has cheated his fate and the stunning solo at the song’s heart only confirms Walter’s renewed vigour. Equally stunning is the rolling darkness of ‘haunted by the night’ which, with its Gilmour-esque solo, takes on an eerie, Pink Floyd feel. Energy levels are boosted once more as the wonderful Andrew Elt joins the band on rhythm guitar for two crushing tracks, the crackling ‘tomorrow seems so far away’, and the mass singalong ‘playing hideaway’. It may be dark, it may be the blues, but where there is darkness there is also redemption, and one man’s journey into darkness has rarely sounded so moving and yet so utterly thrilling at the same time. An older song, ‘go the distance’ fits the mood perfectly with a solo that recalls the somnolent beauty of Gary Moore, whilst ‘I ain’t ready for the cold, cold ground’ is wonderfully defiant.
With the set flashing by, seemingly in seconds rather than minutes, Walter dedicates the next song to his Wife Marie who kept him alive with her undimming hope. The song, ‘please take me home’, remains as heartbreaking as when it first appeared on ‘Battle scars’ and, with Andrew Elt providing acoustic guitar and backing vocals, this is a definitive reading of a deeply moving song. Few artists would be brave enough to record so personal a moment, let alone take it out on the road, but such honesty is what we have come to expect from Walter. The set ends with a stunning, dizzying, awe-inspiring cover of Freddie King’s ‘Going down’, and it is a version that reaches into the very heavens. The band is on fire, Andrew Elt rips the vocals and the audience go nuts. It’s difficult to believe that a scant few years ago this man was at death’s door, and it is a testament to the power of hope and love that Walter is still able to stand before us. ‘Going down’ is no more or less than a celebration of life itself, a communion between Walter, his audience and his muse and it sparkles with a rare electricity that few could ever hope to replicate. We leave the auditorium feeling utterly elated and the feeling persists on the drive home.
Ultimately there are two incredibly simple reasons why Walter Trout is one of the finest exponents of the blues alive today. Firstly, he sings what he feels and secondly he plays from the heart. That he happens to be an exceptional musician is somewhat secondary to the simple truth that people flock to hear Walter play because, when they do, he makes everyone feel a part of his show. Few artists would risk baring their darkest moments to their audience, but Walter is able to do so because he knows that his audience is his family, and it is that love and spirit that makes a Walter Trout show one of the most magical musical experiences you are liable to experience. 10
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