Issue 162 June 2026

BLUES

J I M M Y C A R P E N T E R E N E R G Y T O M M O R I A R T Y R O S E D

MATTERS!

A L E J U N C T I O N G R E G P I C C O L O B U R N I N G R O P E B I L L Y P R I C E S H E R R I H A R D I N G

JUNE 2026 162

25+ YEARS STRONG

WE TALK TO THE AMAZING

SAMANTHA FISH

ABOUT HER NEW ALBUM

PAPER DOLL LIVE

BONAMASSA TALKS ABOUT

THE SPIRIT OF RORY GALLAGHER

WELCOME TO BLUES MATTERS

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Laura Carbone

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Andy Hughes

Adam Kennedy

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4 ISSUE 162 : BLUESMATTERS.COM

ELCOME

Simon Green

SOMEHOW

IT ALL FITS TOGETHER

GREG PICCOLO

For more than half a century, Greg Piccolo has lived and breathed music. Best

known for his long tenure with Roomful of Blues, he helped define one of the

most influential horn-driven blues bands of the modern era. Yet speaking from

his home in Connecticut, there is little ego in his reflections.

Colin Campbell

Tina Pastor

EARLY SPARKS

Comfortable across jump blues, rock ’n’ roll, soul, jazz and

rhythm & blues, Piccolo has now delivered what may be

his most personal work yet with his latest project alongside

Heavy Juice.

Speaking with Blues Matters, Piccolo was candid, funny

and reflective as he discussed songwriting, loss, and

why, at 75, he still believes in the power of a great song.

“I always liked music. My sister and I used to listen to

records on my parents’ hi-fi and jump on the bed singing

along. I liked everything, but I was drawn to the tenor

saxophone.” Years later, when he picked one up, those

early melodies returned. “The Wanderer by Dion stuck in

my head. When I got a tenor, it just came out.”

He was drawn to rhythm without knowing it was blues.

“I liked things like Happy Organ by Dave ‘Baby’ Cortez.

There was blues in it.” The British Invasion changed

everything, and a meeting with Duke Robillard proved

pivotal. “I told him I liked Reelin’ and Rockin’, Roll Over

Beethoven. He said, ‘Did you ever hear of Chuck Berry?’

I hadn’t. I was listening to Berry songs through British

bands and didn’t know it.”

FINDING THE SOUND

That moment led him deeper into rhythm and blues. “Eric

Burdon was like God to me. Years later I saw him at a low

point in my life and he was still giving everything. That

gave me hope.”

Piccolo would spend 25 years with Roomful of Blues,

touring relentlessly. “We played around 300 nights a

year. Duke chose the music in the van and that was fine,

he had incredible taste.” Through Robillard he discovered

T-Bone Walker and a lineage of saxophonists including

Red Prysock, Illinois Jacquet and Eddie ‘Lockjaw’ Davis.

“It was serious music but it had humour. That balance

always appealed to me.”

WRITING SONGS THAT LAST

Although known as a saxophonist, songwriting became

central in the early 1980s. “We needed originals, so I

gave it a try. The first was Yes Indeed and I still play it.” His


LISTEN

TO THIS

INTERVIEW

ISSUE 162 : BLUESMATTERS.COM 7


approach remains instinctive. “I like space. I like hearing

a note and deciding what comes next.” He is clear about

his sound. “It’s not going to sound contemporary. If I don’t

feel a song straight away, I don’t finish it.”

BACK TO THE STUDIO

After years away from recording, Piccolo returned to

capture songs written across decades. “I realised I had

all this material that needed to be recorded properly.”

Recording at Sonic Ranch in Texas proved intense and

immersive. “There was nothing out there but pecan trees

and coyotes. Once you got there, you were there.”

The sessions pushed him. “We recorded 15 songs in a

week with a band still finding its feet.” Yet it also brought

something new. “For the first time, the band wrote together.

That was a huge moment.”

Tragedy followed when producer Terry Manning passed

away shortly after completing the mixes. “I called to talk

about vocals and his wife told me he’d died. It was awful.”

Piccolo re-recorded only a handful of parts. “I’m glad I

had that experience with him.”

“IF I’M 65 AND

NOT FAMOUS OR

RICH, WILL I BE

UNHAPPY?

I’M NOT!”

SONGS FROM EXPERIENCE

The album draws from decades of material but feels

cohesive. “These songs go back to the ’80s, but somehow

they fit.” Inspiration often comes from simple moments. “I

hear a line and something switches on.”

There are lighter moments, but also deeply personal

ones. Speaking about She Couldn’t Stay, he pauses. “My

wife passed away. I’ve never talked about it publicly. I sat

at the piano and it came out in five minutes.” The honesty

lands without embellishment.

Elsewhere, Breaking The Clouds leans into gospel influences,

while Guilty features one of his favourite lines:

“If trusting people were a crime, I’d have to plead guilty

every time.” The title track, Who Knows What the Future

Holds, reflects his outlook. “That’s the story of my life,

emotionally.”

STILL MOVING FORWARD

Piccolo remains committed to working with the right

musicians rather than chasing names. “I wanted people

who were right for the music.” Reflecting on his career,

he remains at peace with his choices. “If I’m 65 and not

famous or rich, will I be unhappy? I’m not. This is my happiest

place.”

He is also clear about who he is. “I’m not a pure blues guy.”

That freedom allows the music to move naturally across

styles, something audiences are still responding to. “I had

more people at a hometown show than I’ve seen in 25

years. They liked every song they’d never heard before.”

As for what comes next, Piccolo keeps it simple.

“Who knows what the future holds?”

For further information visit: www.gregpiccolo.com

EXPLORE



LISTEN

TO THIS

INTERVIEW

STORYLAND

SHERRI HARDING

Colin Campbell

Melanie Arbour

Some artists can pinpoint the exact moment they discovered

music. For Sherri Harding, it feels more like music

found her before she had any say in the matter. Speaking

from Ottawa to Blues Matters, Harding laughs as she

traces the path back to childhood, but the roots run deep.

Her parents owned a used furniture store and, by the age

of four, she was already standing on tables singing for

customers in exchange for spare change.

Growing up surrounded by wildly different musical

tastes, Harding absorbed everything from Merle Haggard

and Johnny Cash to opera star Mario Lanza, while

older siblings introduced her to the records of the 1970s.

Without formal lessons, she taught herself guitar using a

borrowed instrument and a Mel Bay chord book, recording

herself on cassette machines while singing along to

artists like Linda Ronstadt and Heart.

CATCHING THE BUG

Harding’s first major performance came around the age

of twelve when a school music teacher arranged for students

to sing alongside professional musicians. Her debut

solo performance of Daydream Believer came complete

with a live band and horn section.

“Once I stood there in front of a live band and heard

those horns behind me, I caught the bug completely,” she

recalls.

By her late teens she was performing in bar bands across

Canada, playing everything from Peter Gabriel and Genesis

to Motown and R&B classics, the styles she naturally



gravitated towards.

BECOMING A COOPER SISTER

A major turning point arrived when Harding joined The

Cooper Brothers as a backing vocalist. Initially hired to

sing harmonies, she quickly became part of the front line

after the band recognised her wider musical abilities.

“What began as a supporting role soon became family,”

Harding says, laughing that she has effectively become a

“Cooper sister.”

That relationship remains central to her music today.

Guitarist and songwriter Dick Cooper has written and

produced Harding’s albums, tailoring songs specifically to

suit her voice and style.

THE MUSCLE SHOALS CONNECTION

Harding’s latest album Storyland carries the spirit of

Muscle Shoals despite being recorded in Ottawa. Her debut

album A Million Pieces was recorded in Alabama, but

when returning there became difficult, Harding instead

recreated that atmosphere in Canada.

Recording at Audio Valley Studios, she reunited with

guitarist Kelvin Holly, known for spending two decades

performing with Little Richard, while members of the

renowned Muscle Shoals Horns contributed remotely

from Alabama.

“For Harding, it is surreal to see those names in her credits,”

yet she speaks more with gratitude than disbelief.

A VOICE BUILT ON HONESTY

Although Dick Cooper wrote the material, Harding brings

a deeply personal quality to the songs.

“He wrote these songs specifically for me,” she explains.

“We learned a lot from the first record, what suited my

voice, my range, and how we work together.”

The album moves comfortably between blues, soul, R&B

and roots music without ever feeling restricted by genre.

Harding resists labels altogether.

“We didn’t want the songs to fit a style,” she says. “Dick

wrote songs that fit us, not a genre.”

Tracks like Through It All, a duet with Jeff Rogers, and

Bad Weather showcase the emotional breadth of the

record, balancing themes of hope, vulnerability and

resilience. The title track itself was inspired loosely by a

childhood memory of a Canadian theme park she never

actually visited.

“It becomes something bigger,” Harding explains simply.

LEARNING FROM THE GREATS

Harding’s early inspirations came from powerhouse

female voices including Janis Joplin, Koko Taylor, Etta

James, Mavis Staples and Bonnie Raitt.

“A song that comes from the heart,” she says when asked

what makes music connect. “Some songs physically affect

you; goosebumps, shivers, that’s when you know.”

“LISTEN TO THE

LYRICS AND CONVEY

THE EMOTION”

That philosophy came directly from her mother, herself

a singer, who gave Harding advice she still carries today:

“Sing from the heart. Listen to the lyrics and convey the

emotion.”

After decades performing everywhere from Canadian

bars to military bases overseas, Harding remains driven

by exactly the same thing that first pulled her onto those

furniture-store tables as a child: the songs themselves.

EXPLORE


Burning Rope is the band formed by

CatÞsh members Paul Long and Adam

Pyke, together with guitarist Alex

Voysey and drummer Mitch Weaving.

Their second album ‘Dissolution’ is

now out, and is available to purchase

at gigs, or to order as a CD or

download at www.burningrope.co.uk

This new record deepens their ties

between blues and progressive

inßuences, with a theme of break-up

and separation, and comes just six

months after the release of their

debut album.

Burning Rope were Þnalists in the

Emerging Artist category of the UK

Blues Awards 2026.

LISTEN

TO THIS

INTERVIEW


An interview with Stevie Fulton and Iain Weatherall of Energy

Words: Colin Campbell

There is a particular kind of story that belongs to rock

and blues: the one where the big break almost happens

before timing, contracts or circumstance pull everything

apart. For Energy, that story began in the late 1970s

and, remarkably, is still unfolding today. Speaking to

Blues Matters, vocalist Stevie Fulton and guitarist Iain

Weatherall reflected on a journey that started in school,

stretched across Europe, the Middle East and America,

and has now returned with a new album that finally gives

their songs the release they always deserved.

From school band to international stages

Energy began like countless bands before them: school

friends united by music and ambition. “We got together

at school when we were about 15 or 16,” recalls Iain. At

first, the band members balanced music with ordinary careers.

Iain worked in accountancy, Stevie was an apprentice

engineer in the steelworks, while other members

worked in computing and television engineering.

That changed when the band decided, at just nineteen

years old, to go professional. The gamble led to years on

the road across Europe and the Middle East before what


band explain. “We write what we want, record it how we

want and say what we want.”

Keeping music real

One of the album’s defining strengths is its organic

production. Following the band’s original split, Iain built a

second career running Premier Studios in Corby, developing

a reputation for capturing authentic rock performances.

appeared to be their breakthrough moment in America.

They played showcases at legendary venues including

Whisky a Go Go and New York’s SIR Studios in front of

record executives. On paper, it looked like success was

imminent. Instead, everything stalled.

The contract that changed everything

Despite growing interest from labels in both the UK and

the United States, Energy found themselves trapped by

a management contract that prevented them moving

forward.

“There was genuine interest,” says Iain. “We had a producer

in the UK who wanted to rebuild the songs properly

and approach record companies, but we were tied into

a contract and couldn’t move.”

Using what he calls “a good old Scottish word,” Iain

describes the band as being “stymied”. The frustration

eventually pushed the group away from the industry

entirely, turning what should have been a launching pad

into a dead end.

Returning to unfinished business

More than forty years later, the spark unexpectedly

returned. What began as an attempt to archive old songs

quickly evolved into something much bigger. Their manager

Rudy heard the recordings and insisted the material

deserved a proper release.

“His words were, ‘the album’s too good to ignore’,” says

Iain. “He said there was unfinished business.”

That phrase defines this new chapter for Energy. Songs

written decades ago now feel remarkably current, particularly

tracks such as Fight For Freedom, inspired by

the Brixton riots and social unrest of the early 1980s.

“It was a scary time,” says Iain. “The strange thing is that

the lyrics still feel relevant now.”

Other songs tackle media manipulation, misinformation

and injustice. Cry of a Child, originally inspired by the

Ethiopian famine, now resonates with conflicts across the

modern world.

“We don’t care about writing for radio anymore,” the

“I think so many songs would be better with a proper

drummer,” he says. “You can use software and samples,

but it never sounds like a real person hitting skins.”

That philosophy runs throughout the album. Real instruments,

live performances and emotional investment give

the record a warmth often missing from modern productions.

Blues at the heart

Although Energy sit firmly within classic rock territory,

blues remains central to their sound. Their influences

include Thin Lizzy, Rory Gallagher, Little Feat and Yes.

For Stevie, Rory Gallagher’s vocal approach left a lasting

impression.

“Rory had that growl, but when he played softer things,

he sounded like an angel. That balance always inspired

me.”

Stevie believes blues remains the foundation of musical

expression itself. “I think that’s where it started for everybody.

Blues is still in there. It still matters.”

Rising after real life hits

The phrase Rise From The Fall became more than an album

title as the interview progressed. Iain spoke candidly

about surviving a brain haemorrhage and battling prostate

cancer during the years away from the band. Stevie

meanwhile navigated the harsh realities of the acting

industry alongside music.

The closing track I’m Doing Alright reflects that journey

directly, acknowledging mistakes, setbacks and survival.

“We all make mistakes,” says Iain. “The trick is finding

enough fire to rise from the fall.”

The value of staying the course

Throughout the conversation, one theme repeatedly

surfaced: resilience. For Iain, persistence matters more

than industry success.

“If you still love the process, why walk away?” he asks.

“Writing songs, recording them and playing live remain

the heartbeat of the craft.”

His advice to younger musicians is refreshingly direct:

“Keep going, no matter how discouraging things become.”


That same philosophy extends to performing. Iain believes

one of the best educations a young musician can

receive is busking in front of strangers.

“There’s nowhere to hide,” he says. “If a song connects,

you know. If it doesn’t, you learn and improve.”

Looking forward

Today, Energy are embracing the digital world that did

not exist when they first began. Videos and social media

have introduced the band to a new generation of listeners,

even if Stevie jokes that they remain “a pair of old

fuddy-duddies” adapting to modern technology.

Live dates are being planned, festivals are under discussion,

and the momentum continues to build. Yet beneath

everything lies a simple truth: this is a band that still

believes in songs, stages and connection.

For Energy, passion survived contracts, illness, disappointment

and the changing face of the music industry.

And after all these years, the fire still burns.

EXPLORE



A NEW

CHAPTER

TOM MORIARTY

Currently on the road in the UK with US rocker, Philip Sayce, Tom Moriarty

is a roots picker with a growing following, five albums under his belt and a

new one, ‘Chapters’ about to launch in early-June. The late David Crosby

was a fan of his music, which says a lot and is a well-deserved endorsement.

Iain Patience

Rob Blackham

Are you enjoying life on the road with Philip?:

““Yeah, he’s got a following, and apart from anything else,

it’s just good for me watching him every night because

I’ve been following him for years. And when the pandemic

was happening, like a lot of musicians, I was doing quite a

lot of practice at home and watching his videos.

“Not so much any sort of tuition videos that he might

have done, but just live performances. So being up close

and actually watching, just thinking, right, okay, that... and

I’m recording and looking. I’ve basically been watching

and learning.”

“I was out in the mountains and a small yappy dog bit

the end of my middle finger off. So you can see that it’s

meant to be obviously longer. Basically, I don’t really have

much feeling in that finger now. Weirdly, when I touch the

strings, it’s a bit like touching a razor blade, so that can

hurt a bit.

“So after that, I basically relearned my solos using just

three fingers. Slowly but surely, I’m trying to incorporate

everything again. A lot of the chords that I play on the

album are three-finger chords or two-finger chords. I use

open tunings a lot, so people find ways around it. It’s a

way of adapting, but it also kind of defines the sound.”

“And when it comes to soloing, because I’m not really

using the second finger properly, I do a lot of things to

work around it. So there’s more sliding and hammer-ons.

The solos have changed because certain runs have to be

played differently. It gives the playing its own character.”

“I started playing guitar when I was five, so I went

through the whole classical training thing. Acoustic guitar

was a huge part of my life from very early on. So when

it came to writing songs, I naturally wrote on acoustic

guitar. You’ll hear that in the stuff that’s already up on

Spotify.”

“And I guess that comes from songwriting influences

and watching Neil Young, Carole King, Bob Dylan, John

Martyn, David Crosby, all those people. A lot of those guitar-based

singer-songwriters have been an influence, but

John Martyn in particular because I love the way he plays.

There’s so much sensitivity and versatility there.”

“And such great rhythm playing. On some of the songs,

you can really feel it, and I know there are a couple of

tracks on The Road where people will definitely hear the


doesn’t even think about it anymore. I enjoy that rhythm

side of playing. I think that’s one of the hallmarks of my

solos.”

“That’s how it starts, with the hands. Very kindly, Taylor

Guitars sent me a guitar for the tour.”

“Oh nice. So nice. I know, how lucky am I? Absolutely

unbelievable. The point is, whenever you pick up a new

instrument, it inspires something new creatively. This

guitar has already inspired a new song.”

John Martyn influence. There’s another track on Doll’s

House where people will hear it too.”

The electric guitar is new for you, really? You’ve been

playing it all along, but not recording with it, judging

from your back catalogue.

“Yes, it’s not new for me. I’ve just quietly been getting

on with it in the background. In the early days I played

in blues and jazz bands and did the whole blues-rock

soloing thing. Then when I was at the Musicians Institute

in Los Angeles, I played electric guitar every day and was

heavily into rock guitar.

“I was never really a shredder though. I’m not one of

those thousand-miles-an-hour metal players. My influences

would be Stevie Ray Vaughan, Clapton, Hendrix,

Gary Moore, Rory Gallagher, all those blues-rock players.

Everyone says Rory Gallagher.”

“I’m half Irish, so my grandparents were Irish, and I like

to think that’s where some of the folky storytelling thing

comes from. I think it’s in my blood. There’s a history of

storytelling, songwriting, lyrical melody, and all that sort

of thing.”

“I think travelling is inspiration for me. I like to travel and

just move from one place to the next. Whenever I move

on somewhere new, I think to myself, ‘Okay, here we are

on the road again.’”

Where does the music in him come from?

“Even as a kid, I would come up with little patterns and

funky rhythmic things. I don’t know where it came from,

it just seemed natural. I’m a drummer as well. I was a

drummer at school and a percussionist in the orchestra,

so rhythm has always been a huge part of it.”

“It’s muscle memory now. When I’m soloing, there are

lots of rhythm changes and syncopation because I think

that makes things interesting. It’s a bit like a fireworks

display. You don’t want the same thing happening all the

time. You need breaks and changes.”

“I guess Stevie Ray Vaughan did that, Al Di Meola does

that, and Philip is brilliant at it too.”

“I actually asked Philip one day, ‘What are you doing

there?’ The thing is, he’s doing it so fast that he probably

“Yeah, it’s part of the Gold Label range, their vintage-inspired

line. It sounds really cool, so I’ve been using it

on tour. The interesting thing is that the sound guy just

plugs it in and goes, ‘Bloody hell, that sounds good.’ I’m

really fortunate.”

How’s the audience reacting to the new album, Chapters,

on the road?

“It’s going really well, I think. A lot of people are coming

up after the gigs saying they’re really looking forward to

the album. Because we’re playing acoustic, it becomes

much more about the songs themselves.”

“I think it’s going really well. It’s great to be singing live,

and I’ve had a few people come up after gigs and say,

‘Tom, I’d never seen you play live before, then you started

singing!’ I’ll take that as a compliment.”

Moriarty’s previous albums have all been purely acoustic,

as far as I can tell. Tom nods in agreement.

“Yeah, they have. I guess this marks a bit of a new era. I

just felt this album needed the electric guitar because

when I was writing it, I was looking out at the world and

thinking it looked pretty aggressive out there.”

“There’s a lot of anger and people going through difficult

times, and I just thought I needed the electric guitar to

express that. I love playing electric guitar, so it felt right

to add it to the palette.”

Asked about his formative period at Los Angeles’ Musicians

Institute, Tom expands:

“Being around those musicians and living that L.A. rock

’n’ roll lifestyle was very cool. Going to the Rainbow,

seeing bands around the place, studying at that music

school... when you’re playing eight hours a day, you

should get better.”

“It definitely helped define my style. There were shredders,

jazz players, fusion players, country players, and

eventually I realised I’m just a blues-rock guy.”

“I think people will hear that Southern roots influence

in some of the songs. I’m clearly a fan of Southern roots

music, but other people might hear it as blues rock or

Southern rock. I don’t really get too caught up in genres.”


“The Enemy Inside, which opens the

album, is basically me saying, ‘Okay, the

electric guitar is here now. Here we go.’”

“It’s really just two vintage guitars, an

old amp, and careful use of a little reverb

and delay to get the tone I want. But a

lot of guitarists will tell you tone is in the

hands, and I believe that.”

“That’s the difference between good and

great players. Plenty of people can play

like Eric Clapton technically, but very

few can communicate emotion the way

he does. Wonderful Tonight is a perfect

example. He’s never been about shredding.

It’s all about feeling.”

“That’s what I try to do in everything,

whether it’s singing, soloing, rhythm

playing, or writing lyrics.”

And then there’s She’s Like the River,

one of the album’s more sensitive

moments.

“Yes, absolutely. The album still has the

thoughtful acoustic, folky roots-rock

side from the previous albums. Nature is

a big theme in my writing, and that song

is about somebody who was as beautiful

to me as the river itself.”

“I’ve always been the singer in the band,

whatever band I was in. I was in the choir

at school too, so singing came naturally.

But over the years I’ve really worked at

it and honed it.”

“I think my singing on Doll’s House is

very different from how I sing now. Back

then I held back a bit because I didn’t

want to seem like I was showing off.”

“But eventually I realised it’s okay to

really go for it. People appreciate that

honesty and emotion in performance.”

“Kris Kristofferson once said, ‘If you

have a talent, it’s not a privilege to show

people, it’s your duty.’ I really like that.”

EXPLORE


RANDOM

MADNESS

BILLY PRICE

For more than five decades, Billy Price has built a reputation as one

of America’s finest soul-blues vocalists. While often linked to the

blues scene, his roots stretch far deeper into Southern soul, rhythm

& blues, and classic American songwriting.

Colin Campbell

Supplied

LISTEN

TO THIS

INTERVIEW

Speaking with Blues Matters, Price reflected on a career

shaped not by formal musical training, but by records,

radio, and a lifelong obsession with great songs.

Becoming the frontman

Growing up in New Jersey during the first explosion of

rock ’n’ roll, Price was captivated by artists like Little

Richard, Fats Domino and Chuck Berry before discovering

soul giants including Sam Cooke and Solomon Burke.

“It just took over; I became obsessed with the music coming

out of the radio,” he recalls. “Then I realised I could

sing a little, and I started imitating my favourites.”

Price laughs when asked about the challenge of being a

frontman. “If you like to show off, it’s not difficult at all.”

Yet behind the humour lies an interesting contradiction.

Offstage he describes himself as naturally introverted,

but once the lights come on, the transformation happens

instantly. Friends compared it to Clark Kent becoming

Superman. Over time, however, Price moved away from

simply portraying a “soul man” persona and towards

something more personal and honest. “I’ve tried to

harmonise the person I really am with the role I play on

stage.

Roy Buchanan and Otis Clay

A major turning point came in the early 1970s when

Price joined Roy Buchanan. After moving to Pittsburgh,

his horn-driven band caught the attention of Buchanan’s

management, who wanted to pair the legendary guitarist

with a young vocalist. Price recorded a studio album

with Buchanan and later appeared on the acclaimed live

release Livestock.

“Roy was Americana before there was a term for Americana,”

Price says. The guitarist’s influence extended

beyond music. Touring taught Price the realities of life

on the road while exposing him to sounds and traditions

outside his usual world.

Yet Price believes the defining partnership of his career

came later with soul legend Otis Clay. Their connection

began in 1982 when Price convinced Clay to perform

a pair of shows with the Keystone Rhythm Band. The

collaboration lasted decades and eventually produced

the award-winning album This Time For Real, produced

by Duke Robillard. Tragically, Clay passed away shortly


The album reunites Price with producer Tony Braunagel,

known for work with Bonnie Raitt, Robert Cray and Taj

Mahal. This time, however, Price insisted on recording

with his own long-serving touring band in Pittsburgh

rather than relying entirely on studio musicians.

“You work with people for that long, there’s a communication

that happens,” he explains. “No matter how great a

studio musician is, they’re not going to recreate that.”

Songs from everyday life

Price’s songwriting process is rooted in observation. He

constantly collects overheard phrases, snippets of conversation

and odd expressions that later become songs.

“Keep listening,” he says simply.

Tracks like I Was A Fool and I Got That Dog In Me

emerged from spontaneous moments and everyday

encounters, while Creature Of Habit and I Said What I

Said lean into self-reflection and emotional honesty. Rent

Free explores lingering emotional connections, while Exit

Strategy taps into modern anxiety and political tension.

before the album won the Blues Music Award for Soul

Blues Album of the Year.

A broader definition

of the blues

Although Price loves classic blues artists such as Howlin’

Wolf and Muddy Waters, his musical centre lies closer to

sophisticated soul-blues vocalists like Bobby Bland.

“I love piano. I love vocals. I love background singers. I

love horns,” he says. “I’ve always worked with horns.”

That approach has shaped his entire career. Rather than

chasing guitar-heavy modern blues trends, Price remains

committed to the richer arrangements and emotional

nuance of classic rhythm & blues.

One piece of advice changed his singing forever. Producer

and songwriter John Tiven once explained that soul

did not require force. Price remembers the line vividly:

“Women don’t like to be yelled at.”

Building Random Madness

Price’s latest album, Random Madness, continues that

lifelong journey. Far from sounding nostalgic, the record

feels reflective, witty and sharply observant. “I’m not nostalgic,”

he says plainly. “I want the good day to be today,

not ten years ago or twenty years ago.”

The title track, Random Madness, may be the album’s

emotional centrepiece. Reflecting on ageing, mortality

and uncertainty, Price describes it simply as “the vulnerability

of being mortal.”

Still moving forward

Despite his long career, Price remains firmly focused on

the present rather than the past. While audiences still

request favourites from decades earlier, he has little

interest in becoming a nostalgia act.

“I’m not interested in doing a Billy Price tribute show,” he

says. “I want to do what’s on my mind today.”

That outlook perhaps explains why Random Madness

feels so vital. It is not the work of an artist preserving a

legacy, but of someone still adding to it.

For Billy Price, success is no longer measured by fame or

awards. It is having the freedom to keep writing, recording

and performing music that still means something. And

after more than fifty years, that passion clearly remains

untouched.

EXPLORE



CARRYING THE SPIRIT OF

RORY GALLAGHER

JOE BONAMASSA AND DONAL GALLAGHER

Few guitarists cast a shadow quite like Rory Gallagher. Three decades after his passing,

his music still resonates through blues and rock circles worldwide, inspiring everyone

from pub bands to arena headliners. Now, with The Spirit of Rory Gallagher, Joe

Bonamassa has stepped into one of the most emotionally charged tributes imaginable,

celebrating Gallagher’s music in the guitarist’s spiritual home of Cork.

Stephen Harrison

As credited

For Bonamassa, the project came directly from Rory’s

family. “It was the family,” he explained, referring to

Donal Gallagher, Rory’s brother and longtime manager,

alongside promoter Peter Aiken. “They were going to do

something for Rory… so I humbly accepted.”

The idea itself had actually been quietly developing for

years. Donal Gallagher revealed that Cork promoter

Peter Aiken had long wanted to stage a major Rory celebration

as part of Cork’s famous Marquee concert series.

“We’d kick around ideas every year,” Donal explained,

before eventually the conversation turned toward Bonamassa.

For Donal, Bonamassa made perfect sense. Rory’s music

had clearly influenced him throughout his career, particularly

albums such as Irish Tour ’74 and Live in Europe, two

records still regarded as among the greatest live blues

rock albums ever recorded. Bonamassa himself admitted

it was those live recordings that first hooked him. “It was

really the live stuff that hooked me initially,” he said.

THE WEIGHT OF RORY GALLAGHER

To understand the pressure surrounding The Spirit of

Rory Gallagher, you first have to understand what Gallagher

still means to Ireland. Born in Ballyshannon and

raised in Cork, Gallagher built his reputation through

relentless touring, fearless live performances, and an

absolute refusal to compromise artistically. His battered

Stratocaster became almost mythical, while his concerts

developed a near-religious intensity.

Even fellow guitar legends held him in huge regard. A

famous quote attributed to Jimi Hendrix suggested that if

anyone wanted to know who the greatest guitarist in the

world was, they should “go ask Rory Gallagher.”

Donal Gallagher remains slightly cautious about the exact

wording of the quote, but there is no doubt about the

respect Rory commanded. “Rory adored Hendrix,” Donal

reflected.

By the time Bonamassa agreed to take on the shows, he

knew exactly what he was stepping into. “You’re doing

Rory Gallagher stuff in Cork… it was a lot of pressure,” he

admitted. “You say yes, and then you go, my God, what

did I sign up for?”

Donal saw that pressure first-hand across all three

nights. “It was like a high-wire act,” he said. “Joe wanted

every detail perfect.”

RESPECTING THE MUSIC

What immediately separates The Spirit of Rory Gallagher

from many tribute performances is Bonamassa’s refusal

to imitate Rory outright. He understood from the beginning

that trying to recreate Gallagher note-for-note

would miss the point entirely.


performances, while Cork embraced the event as both a

celebration and a homecoming.

“They loved it,” Bonamassa said simply. “It was a big

event.”

For Donal, the atmosphere felt deeply emotional. Standing

side-stage watching the performances unfold, he

found himself transported back to Rory’s own live shows.

“There was something different about it,” he reflected. “It

felt like celebrating mass.”

“I wasn’t going to go down that rabbit hole of copying

mistakes and doing doppelganger versions,” Bonamassa

explained. “We already have the original stuff.”

Instead, he approached the music honestly, allowing

his own style to sit naturally inside the songs while still

respecting their original energy and spirit.

Donal appreciated that immediately. “It’s like getting two

painters to paint the same landscape,” he explained. “The

colours and textures are different, but it’s still the same

scene.”

That spirit extended far beyond the setlist itself. Bonamassa

and his band rehearsed intensely for days before

the performances, refining arrangements and polishing

details long after each night had finished. Donal admitted

he originally expected the musicians might spend more

time relaxing around Cork, but Bonamassa remained

completely focused.

“He was like a jeweller polishing every detail,” Donal

laughed. “The car had to go back into the body shop every

night.”

A CELEBRATION RATHER THAN A TRIBUTE

“Tattoo’d Lady”

The Spirit of Rory Live From Cork

The concerts themselves became something far bigger

than a standard tribute show. Fans travelled from across

Ireland, the UK, Europe, and America to witness the

Part of that authenticity came through the musicians

surrounding Bonamassa. Rory’s longtime bassist, Gerry

McAvoy, returned for the project, helping reconnect the

music directly to its roots. “Gerry’s a tornado,” Bonamassa

laughed. “He was great.”

Bonamassa was also handed one of Rory Gallagher’s

treasured instruments, a 1930 National Triolian resonator

guitar, which he used during the performances. “I had

it in my room for a couple of days, and I was like, this is

pretty cool,” he said.

WHY RORY STILL MATTERS

Part of what makes Rory Gallagher endure is the honesty

in his music. He was never about perfection or polish. His

records carried rough edges, mistakes, improvisation, and

pure instinct. That humanity remains exactly why new

generations continue discovering him.

Donal believes Irish Tour ’74 still captures that spirit

perfectly. “The band just cooked,” he said, remembering

the original performances.

He also reflected on the album’s wider importance during

the Troubles in Ireland. At a time of division and violence,

Gallagher’s concerts brought people together regardless

of politics or background. “People from all sides came

because they loved the music,” Donal said.

That same feeling carried through The Spirit of Rory

Gallagher. Rather than simply looking backwards nostalgically,

the project reminded audiences why Rory’s music

still matters now.

For Bonamassa, that alone made the pressure worthwhile.

“I’m glad they asked me,” he said. “I’m glad I’ve done

it.”

Joe Bonamassa’s new album “The Spirit of Rory Live In

Cork” is released by J&R Adventures on June 19th.

Pre-Order the album from UK & Europe at –

https://lnk.to/JoeBonamassa and from North America at

– https://joeb.me/OrderTheSpiritOfRory

“Walk On Hot Coals”

The Spirit of Rory Live From Cork


Marcus Bird

“my God, what

did I sign up for?”



ROSEDALE JUNCTION

CROSSROADS SOUL AND A

TOUCH OF THE DEVIL

Given the length of time that blues music has been a recognised genre,

it’s surprising that the name ‘Rosedale Junction’ was not taken before

multi-instrumentalist and award-winning songwriter Toby Soriero

used it for his ongoing music project.

Andy Hughes

Supplied

Why? Because it references the famous crossroads

legend where Robert Johnson is said to have made a pact

with the Devil, trading his immortal soul in return for the

ability to play and sing blues music better than anyone

else.

The story is a well-known folk tale, especially among

blues aficionados, but it seems it was not until around

five years ago that Toby Soriero picked up on the location

as an appropriate moniker for his singular style of music.

And it is particularly fitting, because his music sits at the

crossroads between blues, soul, and the wider umbrella

of Americana. Toby sat down at his Cape Cod, Massachusetts

home for an early-evening chat with BM’s Andy

Hughes about his life and sounds.

It may sound surprising, given his deep and passionate

love for blues, soul, and Americana, to discover that

Toby’s first introduction to the guitar came from a jazz

musician. “I do come from something of a musical family,”

Toby explains. “My grandfather on my mother’s side was

a big band sax player, my mother was a piano player and

church organist, and I am one of two boys in my family,

so I was the one who ended up tasked to be the musician.

Being a kid in the early seventies, my instrument of

choice was the guitar. My mother took me down to the

local music store, that was owned by one of my grandfather’s

former bandmates, and his influence was big band

and jazz, and he knew a jazz guitar player. I studied with

him for about seven years. I started when I was nine, and

he taught me the basics.

“When I got to the age of thirteen, obviously I wanted to

start playing Led Zeppelin songs, stuff like that. I asked

him to teach me a song, because I wanted to play the guitar

solos. So he told me he would teach me some scales,

and if I wanted to play guitar solos, the best thing was to

listen to some blues albums, simply play along with them,

and make it up as I go. Which is essentially what jazz is

all about, improvisation. So I have spent most of my life

listening to blues records and playing along with them. I

did still love jazz, I still do, George Benson was a hero to

me growing up. But being the age I was, and at the time

I was growing up, I gravitated towards blues and rock

music more than jazz. My older brother, he’s five years

older than me, had the album collection, and I would go

into his room and look through it, and one of the first

albums I found was a BB King and Bobby Bland album.

So whereas most of my friends were learning Stairway to

Heaven, I was playing along to this album and feeling like

I was in the band with those guys. What I liked was that

I could play something different each time. That led me

into blues and rock as styles to enjoy.”

As an artist, Toby has only ever written songs alone, never

with anyone else, but the notion of collaboration does


globally by thousands of people, and that is far better

than simply having a local fan base.”

Every musician wants to make their mark. It’s part of the

drive that leads to the practice, the slog of getting gigs,

and generally establishing an identity as an artist. So for

Toby, given that his particular style is less easily defined,

does that make finding a unique point of reference more

difficult?

appeal. “It does, yes. What I would really like as a lyricist

is to have someone else put a tune to the words I have

put together. I would be fascinated to hear how someone

else heard the music to fit with the lyrics, that is definitely

something to think about in the future. That would be

really rewarding creatively for me, because I love writing

lyrics. I like the story aspect of songs. The input from

someone whose influences and tastes are different from

mine would be really interesting to hear.”

Because Toby has chosen a particular and individual

path for his musical output, it poses the question: did he

want to be different, rather than simply following traditional

blues roots? It seems it’s not that simple. “I grew

up listening to a lot of guitarists like James Burton, who

is a rock and roll player with country influences. And

Glen Campbell, an L.A. session player, whose solo stuff

was country-based. I played around Boston as part of an

acoustic duo, playing blues music. My partner retired and

moved away, so I thought I’d start a studio-based project

for myself. I wanted to play blues, but also include the

country influences, because it’s really all one big melting

pot of sounds. So, thinking about Robert Johnson and

the crossroads, it’s a junction where everything comes

together. So I’ll name it after that and add all the influences

into the music I create. I’m not doing it for the money, I

am at that time in my life where I do entirely what I enjoy

doing. It’s almost like a reward for getting to this stage of

life where I get to do just what I want.”

Toby Soriero lives in interesting times. Unfettered by the

need to locate and build a live audience, his music can go

out into the ether and be picked up through a variety of

complicated sourcing methods that comprise the modern

way of finding new music. Therefore, his music may be directed

by the black magic of algorithms towards country

or blues fans simply by the timbre of the collections on

which those songs are placed.

“I am always amazed by the geographical diversity of people

who are picking up my music. I know a lot of people

complain about the internet system because they feel

they are not rewarded for their work, and I understand

that. But for me, and I am not looking for that financial

aspect, I could never dream of reaching the audiences

that I do if I was simply playing in a band around my home

state and maybe a little further afield. My music is heard

“I think it does. I would agree with you that the essence

of this project is based in Americana as a musical style.

Everyone can identify Taylor Swift or Brad Paisley, but

when you mix styles, it becomes that much tougher.

Someone may listen to one of my albums and decide I am

a country artist, another may find that I am a blues artist,

and in fact I am a mixture of everything. That’s what I am

looking for.”

Any other future plans? “I have recently bought a lap

steel guitar, and I’m learning that, so the future will be

writing some songs where I can use this new skill and

sound I am exploring. I am one of those guys who comes

late to established bands who are really wonderful, and

I’ve recently found Larkin Poe, and I love them, so I am

getting to grips with my new sound and feeling.”

It’s fair to say that Toby Soriero is at a time in life when

flogging up and down freeways in a bus no longer holds

quite the appeal it used to. He enjoys being able to spend

time refining and aligning his songs in the studio, rather

than having to rehearse a band for the weekend’s gigs.

But let’s say, for the sake of argument, that a support slot

came along with a major blues or country artist. Would

he be tempted?

“Two ideas come to mind really. If there were a small

number of festival slots, I would think about playing

those, because it’s so much easier than the grind of a long

road tour. But to answer your question, if a major artist

called up and said they were doing half a dozen shows

down the East Coast, would I be keen to open for those

shows? I think I’d give that some thought. Yes, I think I’d

consider that. It would reach some new people, it would

be fun to do, and it would be a challenge, something new

to try, and we’re never too old to try something new,

right?”

You really can’t argue with that. Hopefully someone will

tempt Toby Soriero to hitch onto their international leg

for the UK, and we can hear his unique approach to music

directly from the artist himself. Fingers crossed.

EXPLORE


“I do entirely

what I enjoy

doing”



And the

Winner of

the Blues

Music

Award is….

The 47th

Blues

Music

Awards in

Memphis

Laura Carbone

The Blues Foundation presented the 47th

Annual Blues Music Awards in Memphis this

May. These awards recognize excellence in

blues recording and performance across categories

ranging from traditional and acoustic

blues to soul blues, blues rock, instrumentation,

and songwriting. Winners are voted on

by Blues Foundation members, making the

honors especially meaningful.

This year’s ceremony reflected both the deep

roots of the blues and the new generation

carrying it forward. One of the night’s biggest

winners was Ronnie Baker Brooks, who captured

the prestigious B.B. King Entertainer of

the Year award, further cementing his status

as one of modern blues’ premier live performers.

Another major story of the evening was the

continued rise of D.K. Harrell, whose album

Talkin’ Heavy earned both Album of the Year

and Contemporary Blues Album of the Year

honors. Harrell has quickly become one of

the most exciting young artists in blues today,

combining classic soul-infused guitar work

with a fresh energy that is attracting both

longtime blues fans and younger audiences.

The awards also highlighted the diversity of

today’s blues scene. Tedeschi Trucks Band

took Band of the Year, while Derek Trucks

earned Guitarist of the Year honors. Tom-


my Castro won Blues Rock Artist of the Year

and also captured Song of the Year alongside

Christoffer Andersen for “Can’t Catch a Break.”

Danielle Nicole won both Contemporary Blues

Female Artist of the Year and Instrumentalist–

Vocals. Marcia Ball, recently announcing her

retirement from touring, received the Pinetop

Perkins Piano Player award,, while Trombone

Shorty earned Instrumentalist–Horn honors,

showing the increasingly broad musical reach of

modern blues.

The traditional side of the genre remained

strongly represented as well, with Buddy Guy

continuing his legendary run with Traditional

Blues Album honors for Ain’t Done With The

Blues. Kevin Burt won his first Blues Music

Award for Acoustic Blues Artist to huge applause

from the audience. Doug MacLeod captured

Acoustic Blues Album for Between Somewhere

and Goodbye, while Eden Brent earned Traditional

Blues Female Artist of the Year honors.

The soul blues categories honored some of the

genre’s most respected artists. Johnny Rawls

won Soul Blues Album of the Year for Make

Them Dance, while Curtis Salgado earned Soul

Blues Male Artist of the Year, and Thornetta Davis

took Soul Blues Female Artist of the Year.

Christone ‘Kingfish’ Ingram continued his remarkable

rise by winning Contemporary Blues

Male Artist of the Year. Another encouraging

moment was the recognition of emerging talent,

as Sean McDonald earned Best Emerging Artist

Album for Have Mercy!, a reminder that the

future of blues music remains bright. J.T. Lauritsen

& the Buckshot Hunters from Norway

won International Album of the Year, for Just Be

Friends one of the Blues Music Awards’ newest

categories, reflecting the growing worldwide

influence and reach of blues music beyond the

United States.

But as always, the Blues Music Awards were

about more than trophies. The event remains

one of the rare times each year when the global

blues community gathers in one place. Hotel

lobbies turn into networking hubs, Beale Street

clubs overflow with showcases, old friends

reconnect, and younger artists mingle with

legends. It is part industry summit, part cultural

gathering, and part musical pilgrimage.

In a music industry often dominated by trends

and algorithms, the Blues Music Awards still feel

refreshingly human. The passion in the room, the

standing ovations, the collaborations, and the

visible respect among artists all point back to the

same truth: blues remains one of America’s most

enduring art forms.



BURNIN

FINDING A NEW VOICE

Stephen Harrison

Chris Griffiths and Paul May

For many blues fans, Paul Long will always be closely

associated with Catfish, the band he shared with his late

son Matt Long. But with Burning Rope now releasing

their second album, Dissolution, Long is clearly focused

on creating something entirely different. Speaking with

Blues Matters, he reflected on grief, songwriting, progressive

rock, and why the new band is beginning to

stand firmly on its own.

Burning Rope emerged after an understandably difficult

period following Matt Long’s passing. “It was a long time

before I decided I could even listen to the music, never

mind think of playing it,” Paul admitted. “But eventually I

came to think, well, you’re a musician, musicians have got

to play.” Alongside former Catfish members Adam Pyne

and Mitch Weaving, plus guitarist Alex Voysey, the group

slowly began taking shape. “We did our first gig about

thirteen months ago, and somehow we’re already on our

second album.”

THE BAND IS BECOMING

ITS OWN THING

While the first Burning Rope album still carried echoes

of Catfish, Dissolution marks a much clearer departure.

“We are now making music that Catfish would never have

made,” Long explained. “It feels different. It’s using words

and music that we would never have done before.” He

admitted that continuing too close to the old sound became

emotionally uncomfortable. “There was no Catfish

without Matt.”

That evolution is reflected throughout the album, which

blends blues influences with strong progressive rock elements.

Long openly embraces those prog roots, pointing


G ROPE

out that the band name itself comes from the Genesis

song Burning Rope. “When Matt died, and the rest of us

in Catfish carried on, we were suddenly, ‘and then there

were three’. So the Genesis connection felt right.”

The songwriting process has also changed significantly.

Instead of Long bringing finished material to the band,

Dissolution grew much more collaboratively. “I’d turn up

with little nuggets, maybe a verse or an idea, and then

we’d develop it together in rehearsals. It feels much more

like group-written music this time.”

SONGS WITH WEIGHT

AND MEANING

One of the album’s standout tracks is Sad Like Sinatra, a

sprawling fourteen-minute piece that combines deeply

personal lyrics with prog ambition. Long revealed that the

song began with only a title and a single verse. “Adam just

looked at me and said, ‘Yes, you do know what it’s about.

It’s about your parents.” The song evolved into a reflection

on divorce, family separation, and eventually the

death of his mother during its writing. “You try to make

songs universal as well,” he explained. “You want other

people to feel that it’s about them too.”

Another surprise comes with the band’s reworking of

Kate Bush’s Running Up That Hill. Rather than attempting

a faithful recreation, Burning Rope turned the song

completely inside out. “There’s no point copying one of

the greatest records ever made,” Long said. “If you’re going

to do it, you have to find something entirely different

to do with it.”

FROM SINATRA TO PUNK ROCK

Long’s musical upbringing was equally eclectic. As a child,

he accompanied his father playing cabaret gigs in clubs

and nursing homes, surrounded by the music of Frank

Sinatra and classic Broadway records. Naturally, teenage

rebellion pushed him elsewhere. “The last thing you’re

supposed to do is like your parents’ music,” he laughed.

By the 1970s, he had discovered blues and progressive

rock simultaneously, tracing the roots of artists like Little

Feat back to the original blues recordings that inspired

them. At the same time, he immersed himself in prog acts

such as Genesis and Gentle Giant while also embracing

the energy and honesty of punk bands like XTC. “Punk

and blues aren’t actually that far apart,” he said. “They’re

both very raw, emotional music.”


LIFE BEHIND THE DESK

Alongside performing, Long built a major career in

production and engineering, eventually becoming deeply

associated with the BBC’s famous Maida Vale Studios.

He spent decades recording live concerts, sessions, and

broadcasts there, including work on In Concert and numerous

legendary sessions. “The music just seeps out of

the walls,” he said. “Everybody’s been there, The Beatles,

The Stones, U2, B.B. King, everybody.”

He remains saddened by the BBC’s decision to leave the

studios, although relieved that composer Hans Zimmer

has purchased the site to preserve it as a working music

facility rather than seeing it demolished.

BUILDING BURNING

ROPE ORGANICALLY

With Dissolution now released, Burning Rope are

entering a busy run of live dates and festivals, including

appearances across Europe. Long knows that building a

new band takes time. “It feels harder this time than it did

with Catfish,” he admitted. “But Catfish took ten years to

build, too.”

For Long, there are no shortcuts. “It’s about getting out

there and playing live to people. That’s how you build it

organically.” In an era increasingly driven by algorithms

and social media trends, Burning Rope seems far more

interested in simply making honest music and letting

audiences discover it naturally.

And judging by Dissolution, they are finding their own

voice very quickly indeed.

EXPLORE



PAPER DOLL LIVE

SAMANTH FISH

LISTEN

TO THIS

INTERVIEW

Colin Campbell

As credited

There are few artists in contemporary blues who command a stage quite like Samantha

Fish. Whether she’s unleashing a ferocious guitar solo, delivering a soul-baring vocal, or

leading a crowd through the emotional peaks and valleys of a live performance, Fish has

built a reputation as one of the genre’s most compelling performers. Speaking to Blues

Matters from her home in New Orleans, she’s enjoying a rare stretch of downtime before

heading back out for another show. “Jazz Fest was amazing, it’s always such a beautiful,

unique experience. There’s so much love out there.

Haluk Gurer

To be on the stage side of it and see all those

people it’s pretty incredible.” Even offstage,

Fish remains a fan. She was available to wander,

catching performances by St. Vincent, David

Byrne, and a particularly memorable set from

Stevie Nicks. “She had everybody crying in the

rain, it was kind of beautiful.”

BRINGING THE LIVE EXPERIENCE HOME

The last time we spoke, she was celebrating the

release of her studio album Paper Doll. Now,

she’s revisiting that material from an entirely

different perspective with the release of Paper

Doll Live; her long-awaited first official live

album. Despite the title, this isn’t simply a live

run-through of the studio record. Instead, it

serves as a carefully curated snapshot of Samantha

Fish in her natural habitat: the stage.

“It’s really our live show, it’s a mix of songs from

Paper Doll, older fan favourites, and a few covers

that fit naturally into what we do. I wanted it to

capture both where we are now and the journey

that got us here. People have been asking me for

a live record for at least ten years, they want to

take that feeling home with them, that thing that

happens in the room. A live show is such a shared

experience, and there’s really nothing else like it.

This record is absolutely for the fans.” The album

was recorded at the historic Bijou Theatre in

Knoxville, Tennessee, a venue that proved ideal

for both practical and artistic reasons. “I hate to

destroy the romance of it, but it was really the

place where everything lined up perfectly. The

label is based in Nashville, Knoxville was already

on the schedule, and the recording crew could

easily come in from Nashville. It’s a beautiful

old theatre with a lot of history,” she says. “The

technical team knew the room inside and out,

and they knew exactly how to capture it. Plus,

we have a great fan base there. People travelled

from all over when they found out we were

recording a live album. That made the night even

more special.”

CHOOSING THE RIGHT SONGS

“I always try to lean into everybody’s strengths;

every band has its own personality. I’ve worked

with these guys long enough to know what feels

great on stage and what really suits us. I wanted

it to feel natural; I didn’t want us stressing over

songs we hadn’t played in years. The whole point

was to capture what we actually do night after

night.” Recent songs such as Sweet Southern

Sounds and Fortune Teller were obvious choices,

particularly because of the way they evolve in

performance. “Those songs really breathe on

stage, they change tempo, they shift dynamically,

and because we’re not locked to a click track, we

move with each other. That’s what makes live

music feel organic. There are little imperfections,

but that’s the beauty of it.”

Other songs have taken on entirely new lives

over time. Dream Girl, for instance, has grown far

beyond its studio origins.

“On the album, it’s one thing, live, it’s become

something completely different. We’ve stretched

it out, taken it to new places, and I think that’s

why fans connect with it so strongly. That’s the

magic of playing live, you can keep discovering

new possibilities in a song.” The explosive MC5

classic Kick Out the Jams is a bold choice that

perfectly sets the tone. “It’s an invitation, it

immediately tells people what kind of night this

is going to be. It gets everybody engaged right

away.”

THE RITUAL BEFORE THE ROAR

“The list is becoming absurd, everything becomes

part of the ritual, from hair and makeup to

writing the set list. That time helps me mentally

transition into show mode. You have to find this

balance between adrenaline and relaxation,” she

explains. “Your body needs to be loose and ready,

but at the same time you’re preparing to walk

out in front of hundreds or thousands of people.

If my voice isn’t feeling exactly how I want it to, I

can stretch out more on the guitar, that’s one of

the beautiful things about what I do. The guitar

can support me on those nights when I need it

to.”

FINDING HER VOICE

“When I was younger, I took vocal lessons

because singing was mysterious to me. With

guitar, you can watch someone and get a sense

of what they’re doing. Singing doesn’t work like

that; everything is happening internally. I used

to lose my voice after just a few gigs,” she recalls.

“I wanted to be able to sing the way I wanted

to sing without destroying my voice. It’s really

about endurance. Aretha Franklin is definitely

one of my vocal heroes,” Fish says. “I hear things

she does and think, ‘How can I bring a little bit of

that into what I do?’ You can’t become somebody

else, but you can be inspired by greatness.”

FROM DRUMS TO GUITAR HEROICS

“I started on drums when I was about thirteen,”

she says. “Then I picked up guitar around fifteen.


DON’T SAY IT - VIDEO

Mal Whichelow


Denis Carpentier

DREAM GIRL - VIDEO


At first, it was all rhythm guitar, just strumming

chords and singing. I always feel like I started a

little late compared to a lot of players, but once I

decided I wanted to do it, I jumped in headfirst.”

That determination led her into Kansas City’s

vibrant blues jam scene, where she learned the

essentials of improvisation, communication, and

musical conversation.

“I booked my first band as a trio,” she laughs. “I

had absolutely no business being the sole guitar

player in a trio at that point. But when you’re a

broke musician and can’t afford another band

member, you learn quickly.”

READING THE ROOM

One of Fish’s greatest gifts as a performer is her

ability to connect with audiences, whether in a

packed club or on a sprawling festival stage.

“Every gig presents a different challenge, in a

small room, people are right there with you;

sweaty, engaged, totally in it. At a festival, you

might be looking out at a sea of people. You have

to broaden what you’re doing to reach them.

You learn how to read a room by not knowing

how to read a room. You go out there, sometimes

it doesn’t work, and then you think about

why, that’s how you grow. Buddy Guy is incredible

at that, he can play an intimate room or a

massive festival and still make everyone feel like

he’s speaking directly to them. Watching artists

like that teaches you so much.”

NERVES, PASSION, AND THE

PURSUIT OF CONNECTION

Even after years on the road, Fish still experiences

pre-show nerves. “Absolutely, I think

nerves are healthy. It just means you care. Some

days they’re stronger than others, depending

on how you’ve slept, what you’ve eaten, how

big the show is, but it’s all part of it. They keep

you alert, they make you present. That’s what

performing is really about; being fully in the

moment.”

MOTIVATION

Her motivation remains refreshingly grounded:

the thrill of creation, the joy of connection,

and the endless pursuit of growth. “I love that I

have some freedom in the creation of my music.

Anytime I get to make a new song or write and

record a new record, there’s this charge. It’s like,

okay, I’ve got something new to say.” That excitement

is what continues to drive her. For Fish,

every new song is a snapshot of who she is at

that moment in time, a musical marker of where

she stands creatively and personally. “I love

playing new music and to go out and perform

something that feels fresh, feels current, and

feels like a snapshot of who you are right now,

that motivates me a lot.”

THE ART OF FORWARD MOTION

“I’ve always been really into building the band

and being behind the momentum and the

growth of everything. To see things grow, that

keeps inspiring me and pushing me forward.

Knowing that there are people out there who

want to hear what we’re doing that alone is a

huge motivation. This is my job. This is what I

do. I’ve poured all my time and energy into it.

Every aspect of my life is wrapped up in this. It’s

not something I can just walk away from. It’s a

lifestyle.”

CAPTURING LIGHTNING

IN THE STUDIO

For any recording artist, finishing an album is a

moment unlike any other. For Fish, it is nothing

short of euphoric. “The best feeling in the world

and I wish I could bottle it and sell it. Walking

out of the studio on the last day, and you’ve just

played and sang your last note, and it’s done.

You’ve got this little secret that nobody else

knows about yet. I put a lot of pressure on myself

because I really want things to go well. I’m

a perfectionist, and I have a vision. But you also

have to be open because you don’t know exactly

how it’s going to unfold. By the time everybody

else gets it, I’ve already lived with it for months,”

she laughs. “But it’s still amazing to see how people

connect with the songs.”

WHEN SONGS TAKE ON NEW LIVES

One of the great joys of songwriting, Fish says, is

watching listeners make songs their own. “Music

is totally subjective. There’s no wrong way to listen

to it. I’ll talk about what a song means to me,

but really, what matters is what it means to you.”

That freedom of interpretation is one of music’s

most powerful qualities. A song may begin with

the artist, but once released, it belongs to the

listener as much as its creator. “They connect

with songs in a completely different way than

how I wrote them. It’s not for me anymore, it’s

for them. I love that experience.”


Doug Hardesty

FORTUNE TELLER - VIDEO


MELODY FIRST, ALWAYS

When it comes to songwriting, Fish starts with the element

she considers most vital: melody.

“For me, it’s all about melody, a melody is the hook. It’s

the earworm. It’s the thing that gets stuck in people’s

heads. You’ll be in your car, and you don’t know the

words, but you’re humming the melody. That’s what

burrows its way in first. I don’t construct songs for guitar

solos. If the song allows for one, great. But if it doesn’t, I’m

not going to force it. Everything has to serve the song.”

ANALYSING THE TRACK: RUSTY RAZOR

One of the standout tracks in Fish’s recent catalogue,

Rusty Razor, exemplifies her nuanced songwriting

approach. “It’s really about life cutting you down. We

framed some of it through the lens of a relationship, but

it’s really about life itself. It’s about getting older and

getting used to bad news. That becomes part of life’s

narrative. Some people work so hard for everything, and

others are just handed opportunities. It’s a bit of a ‘life

isn’t fair’ song.” A major part of the track’s success, she

says, came from collaborator Mick Collins, whose contribution

elevated it beyond her expectations. “When

Mick came in, it became one of my favourite songs on the

whole record.”

THE LIVE CONNECTION

Fish’s latest live recordings capture the intensity and

spontaneity of her performances, but choosing a favourite

track is no easy task. She points to songs like Don’t

Say It, which takes listeners on an unexpected journey,

building tension and atmosphere rather than following a

standard verse-chorus structure. “I like songs that build

and take people somewhere they didn’t expect,” she says.

Sweet Southern Sounds has also become a crowd favourite,

driven by a hypnotic riff inspired by the late, great

Junior Kimbrough. “I really love Junior Kimbrough, and

that riff definitely comes from that Hill Country influence.”

For Fish, performing these songs live allows them

to evolve in ways that studio recordings never can.

EUROPE, AMERICA, AND THE UNIVERSAL

LANGUAGE OF BLUES

After years of touring internationally, Fish has learned

that audiences differ less by country than by city, venue,

and atmosphere.

“America is so big that California feels different from

Colorado, and Europe is the same way, Germany feels

different from France. Lately, every venue we play in Europe

feels electric. You can hear people stomping before

the show even starts. There’s a real fervour there. I know

how lucky I am to get to perform there. Not everybody

gets that opportunity.”

LESSONS LEARNED... AND STILL LEARNING

“At the end of the day, I have to live with everything I put

out for the rest of my life, that’s my legacy.” While collaboration

and outside perspectives are invaluable, she

believes an artist must answer to themselves. “You have

to keep checking in with yourself. Does this feel right? Do

I love it? Because you’re the one who has to stand behind

it forever. I probably would have told 17-year-old Samantha

to trust herself more and give herself a little more

credit.”

WHAT’S NEXT?

The future, as Fish sees it, is wonderfully open-ended.

She is currently writing new material, with plans for another

studio album in the coming year. Though she is reluctant

to commit to firm deadlines, the creative wheels

are already turning. “I’m writing songs now, and sometime

next year, I expect I’ll be back in the studio.” In the

meantime, the road continues to call. With more touring

ahead before a brief summer respite, Fish is balancing the

demands of performance with the need to recharge and

create. “I’ve got a band, a crew, and a whole machine that

depends on keeping things moving,” she says. “But making

new music is what keeps me happy and sane.”

A FINAL WORD FOR THE FANS

Fish remains deeply grateful for the support of the

blues community and the platforms that continue to

champion the music. “Blues does matter,” she says with

a smile. “Whether it’s digital, print, podcasts, whatever

form it takes, these connections are essential. This is a

grassroots community and having that support means

everything.” For an artist who continues to push boundaries

while staying rooted in authenticity, that bond

between musician and audience remains at the heart of

it all. Judging by her passion, Samantha Fish is only just

getting started.

Samantha Fish’s new album “Paper Doll Live” is released

by Rounder Records on Friday June 12th. Further info:

www.samanthafish.com

EXPLORE


PHILIP SAYCE

PHILIP SAYCE

SCORCHED EARTH: VOLUME 2

LIVE FROM LA / LONDON

V A I L A B L E M A Y 1

A

ON ALL STREAMING PLATFORMS

AND PHILIPSAYCE.COM

Photos: Ian Fraser (top), Marty Moffatt (lower)

JIMMY CARPENTER

SAX PLAYER

EXTRAORDINAIRE

STEVE YOURGLIVCH

WILL BYINGTON & ERIK KABIK

Multi Blues Award winning artist Jimmy Carpenter is about to

land in the UK to complete a short tour before heading off to

Basel, Switzerland to perform three days at The Groove Now

festival held in the Antiken Museum. This was the ideal opportunity

to catch up with Jimmy and find out a bit more about his

background and future plans.


LISTEN

TO THIS

INTERVIEW


I began by asking Jimmy about his UK dates and I wondered

if he was bringing a band with him or hooking up

with home-based musicians.

‘I’m looking forward to it, this will be my sixth time

playing in the UK and I have lots of friends there. It’s a

beautiful country and I always have a ball. We’re playing

five straight in a row, just about as far apart as we could

possibly be, which is the way it’s supposed to be. I’m using

UK musicians which I’ve done every time, it’s always

worked out really well. They are all people I’ve played

with before except for the drummer, who comes highly

recommended. I’m excited because it’s the kind of thing

where we have about three hours to rehearse and then

go. They’ve had the material for a month or so and it’s not

Beethoven, so it should be fine.’

Jimmy has now released three albums on Mike Zito’s

Gulf Coast Records, the latest of which was Just Getting

Started in 2024. That album received lots of critical

acclaim and introduced Jimmy to a wider audience.

I was pleased to discover a new album is in the works.

‘I am working on new material. I have the beginnings of

it. The plan, in its general form so far, is to possibly come

to the UK to record it. Probably at the end of this year

and release it early next year. It will likely be different

to the last one because every record I’ve made has been

completely different. The last one is my favourite that

I’ve done, it’s my sixth and I think it’s the best. It’s more

of an R’n’B Soul record with a heavy dose of blues and

obviously lots of saxophone. I love the way that record

sounded, it’s kind of a high bar to me to write stuff that

was as good as that. We’ll see. I’m just going to go where

it takes me. It’s also special because it was produced by

Kid Anderson. It was a joy. I came into that one by the

skin of my teeth too. I was messing with the songs , literally

up to the day before I went to San Jose. That’s sort

of how I operate, although I wouldn’t say I love operating

that way. It’s just the way it is.’

I was interested to know if Jimmy went into the studio

being very rigid in his mind about how the song should

sound or whether he gave the musicians and producer

an amount of leeway.

‘I try. In the past I have demo’d a song in Logic or Pro-

Man. I keep thinking about it and get up in the middle of

the night, sit down and add a part or sing another part, do

this and that. By the time I’d get to the studio I’ve pretty

much made the song. This time working with Kid I made

a conscious effort not to do that. I just sent him the basic

song. I did tell him when I got there, I want to make a

record that sounds like a seventies record, and he said

we could do that. And we did, and it was.’

I read somewhere that as a youngster in North Carolina,

Jimmy’s first musical influences had come from his

fathers record collection which was mostly big band

and jazz. It’s interesting that he didn’t take the route to

becoming a jazz player.

‘Yeah, he’s 92 now. He was a massive jazz fan but he was

kinda all over. He had a Nitty Gritty Dirt Band record




that I loved, but the Dave Brubeck with Paul

Desmond playing sax was the one that made me

think. I love this and was the beginning of my

musical journey. I did go down the jazz route at

the start. I thought when I was in music school, a

brilliant but brief career in music school (laughs),

I thought I was going to be Coltrane. The neighbourhood

where the school was at, was where

all the hippies and rock n roll people hung out.

I’d met a couple of serious jazz guys who were

really struggling and then I met some blues guys

who were actually willing to pay me to play. So I

thought maybe I’ll go this way. Then I heard Otis

Redding playing Dock Of The Bay and I was like,

oh. That really spoke to me. So, I kind of came to

the blues backwards. Started with that kind of

stuff and then went back to Muddy and BB King

etc.’

Another milestone in Jimmy’s path into the

blues was meeting and becoming friends with

Tinsley Ellis.

‘I met Tinsley in 1979; he was playing in a band

called Alley Cats. It was in a small club in North

Carolina and we became friends, real friends for

years and years. In 1998 he called me out of the

blue and asked if I wanted to play with him for a

year. So I did about two hundred plus shows with

him. That was my first real exposure to that kind

of work. I’d played with bands up and down the

East Coast but not five-week tours.’

On the face of it, it might seem an unlikely pairing.

Most of Tinsley’s records then were very

raw, in your face heavy rocking blues.

‘When we did that, he told me ‘I want to play

with a saxophone player for one year. Can you

come out?’ And we put together all this stuff that

wasn’t so rock, it was a little more RnB, sax, guitar,

which I loved. In fact, he sent me a mix tape

back in the day titled The Music To Ruin Your

Carrer With. We never recorded together but I

helped him put together the record he released

on Capricorn (Kingpin). He made some changes

at the end of that year and recorded it without

me. He’s a very prolific guy and still one of my

best friends in this business.’

What happened career-wise after

leaving Tinsley?

‘I went with Jimmy Thackery at that point, I

played with him for about six years, the last of it

was after I moved to New Orleans. I was fed up

with life in DC, so I packed up and moved there.

It worked out fine because I had a gig and didn’t

have to worry about breaking into New Orleans.

Then I realised I couldn’t break into NO if I was

on the road all the time, so I left Jimmy and set

about establishing myself in NO. Katrina hit

shortly afterwards and that changed a bunch of


stuff. That’s a long story but I truly loved it there. I was the

resident rock and roll blues player in a city full of people. Saxophone

players just blew smoke circles around me, but they

didn’t have that rock and roll background.’

Nowadays Jimmy is based in Los Angeles and apart from

being an in demand touring musician he is heavily involved

in organising The Big Blues Bender Festival every year.

‘It’s been a Godsend. I tell people this and it sounds hyperbolic,

but it really has changed my life. It’s an extremely creative

opportunity for me; I have almost a blank canvas and a lot of

money to play with. And I can put all this stuff together, I can

do special shows, I have a lot of leeway. I’m not the boss but

I’m the musician, the connection to this world so I can push

a lot of things. Plus, financially it’s taken pressure off. It’s

like this miracle every two weeks there is money in my bank

account. This will be our 12th year, and we just sold out about

a month ago, so it’s onto me, the musical director part of it.

That’s the fun part, I put together the house band, and we

back up different people every year. I put together a couple

of just one time only shows. It’s quite something, it’s a lot; it

terrifies me and from about now my panic levels just build. It

takes lots of planning. In fact, just before we started talking

today I sent out an offer for the 2027 festival. We put on 35 to

40 bands over four days.’

Another project Jimmy is involved in is playing with

Bill Murray alongside the Blood Brothers, Mike Zito

and Albert Castiglia.

‘Yes, I’m involved in the Bill Murray part of that. I’m not a

member of the Blood Brothers. Bill takes it very seriously, he

doesn’t have any illusions of being a crooner or anything, but

he is always involved in the sets and the songs and bringing

new songs to us. It’s amazing and great fun. That’s another

thing to do with the Mike Zito connection. I’ve known Mike

for twenty years and it’s been a very fruitful friendship aside

from the fact that I love him. I was in his band for a long time

and he fired me. And then he signed me to his label. All kind of

good things come out of Mike.’

You can catch Jimmy Carpenter on tour at the following venues,

check online for tickets availability etc.

June 3rd

The Old Brewery Store,

Faversham.

June 4th Barnoldswick

Music and Arts Centre

June 5th

Edinburgh Blues Club

June 6th

The Temperance,

Leamington Spa

June 7th

Bromley Blues Club,

Bromley Little Theatre.

EXPLORE



ORKNEY

BLUES

FESTIVAL

2026

April 23rd-April 26th 2026

There are festivals that feel carefully assembled, and then there are festivals

that seem to rise organically from the very ground beneath your feet. The 2026

Orkney Blues Festival belonged emphatically to the latter camp—a four-day celebration

where world-class music, island hospitality, and the elemental beauty

of Orkney combined to create something truly unforgettable.

Colin Campbell

Thibault Grs

Held in the harbour town of Stromness from 23–26 April,

this remarkable gathering once again demonstrated why

it occupies such a special place on the British blues calendar.

Yes, it proudly wears the badge of being the UK’s

most northerly blues festival, but geography alone does

not explain its enduring appeal. What makes Orkney exceptional

is its soul: volunteer-driven, fiercely independent,

and woven deeply into the fabric of the local community.

Here, the music and the landscape are inseparable.

Scale is part of the magic. This is no faceless mega-festival

where artists disappear behind barricades and audiences

become little more than numbers. In Stromness, the town

itself becomes the stage. From the historic surroundings

of Stromness Town Hall to the pubs, hotels, the Legion,

and venues stretching further across the islands, the

blues is everywhere. One moment you are witnessing a

headline performance in a packed hall, the next you are

pressed shoulder-to-shoulder in a pub, discovering a new

favourite just inches away.

This year’s programme was expertly curated. The Deborah

Bonham Band delivered a headline performance

of immense power and soul. Bonham remains one of

the great voices in British roots music—rich, earthy, and

utterly authentic. Her Sunday night finale had all the hallmarks

of a true festival-closing event, leaving the audience

exhilarated and reluctant to let the weekend end.

The Jon Amor Trio provided another of the festival’s

standout highlights. Across several appearances, Amor

reminded everyone why he remains one of Britain’s most

distinctive and imaginative guitarists. His playing balances

elegance with raw emotional force, always serving the

song. Whether performing solo in an intimate acoustic

setting or unleashing the full electric power of the trio

late into the night, Amor brought artistry, taste, and soul

in abundance.

Among the weekend’s biggest triumphs were Liz Jones

and Broken Windows. Their irresistible blend of blues,

roots, soul, and rock was delivered with style, swagger,

and real emotional depth. Jones is a commanding frontwoman,

effortlessly drawing an audience into every

song, while the band behind her displayed the kind of

chemistry that only comes from a truly unified musical


vision. Their multiple appearances made them one of the

essential acts of the weekend.

The festival’s booking team once again struck an admirable

balance between established names and emerging

talent. Mississippi songwriter Ray Cashman brought

authenticity, grit, and the storytelling instincts of a

seasoned troubadour. Meanwhile, Aberdeenshire’s Tom

Rhodes continued his impressive rise. Rhodes possesses

that rare quality shared by the finest young artists: a deep

respect for the tradition, coupled with a voice and vision

entirely his own.

Yet Orkney’s true brilliance lies not only in its line-up,

but in its atmosphere. Few festivals anywhere can match

the warmth and sense of community found here. Artists,

audiences, volunteers, and locals mingle freely, united by

a shared love of the music. Free daytime performances,

spontaneous jam sessions, the ever-popular Blues Cruise

and Bike Show, and a wonderfully eclectic cast of local

musicians ensured that the blues never felt confined to a

timetable. It was everywhere, in the bars, on the streets,

in the conversations, and carried on the salt-laden sea air.

Also included in this year’s festival, The Last Waltz wasn’t

simply another set on the bill, it felt like the emotional

centrepiece of the weekend. Scheduled during Saturday’s

Early Birds session in Stromness Town Hall, it was billed

as “An Orkney Spectacular,” and that description proved

entirely justified.

Rather than attempting a note-for-note tribute to The

Last Waltz, the performance embraced the spirit of the

original, collaboration, celebration, and a touch of chaos.

That’s exactly why it worked. The rotating cast of festi-


val musicians gave the set an “only in Orkney” quality: a

house band atmosphere, players clearly enjoying the oneoff

nature of it, and a room that responded as if everyone

knew they were witnessing something that wouldn’t

happen the same way again.

What stood out most was the way the show balanced

reverence with looseness. The songs weren’t treated

like museum pieces. The arrangements breathed, solos

stretched, and there was a healthy rough edge that suited

the songs, particularly the rootsier material that sits

somewhere between blues, country soul, and bar-band

rock.

That, perhaps, is Orkney’s greatest triumph. It understands

that the blues is far more than a musical genre; it

is a communal language, spoken through shared experience,

emotion, and connection. At Orkney, that language

is spoken fluently by everyone involved—from international

headliners to local performers, from first-time

visitors to devoted regulars.

In an age when so many festivals risk becoming interchangeable,

the Orkney Blues Festival remains gloriously

singular. It is intimate without ever feeling insular, ambitious

without sacrificing its grassroots spirit, and adventurous

while remaining firmly rooted in the traditions

that gave birth to the blues.

For anyone who truly cares about live music, Orkney is

no longer a well-kept secret. It is a destination festival in

every sense, a place where extraordinary performances

meet extraordinary surroundings. In 2026, it once again

delivered a weekend rich in music, fellowship, and memories

that will linger long after the final note had faded.

If the blues is ultimately about connection—between

artist and audience, past and present, place, and performance—then

the Orkney Blues Festival stands as one of

its purest and most inspiring expressions.



SUPPORT LIVE MUSIC NEAR YOU

BLUES IN A

STATE OF MIND

SPRING’S SHOWERS BRING A

STRING OF ELECTRIC BLUES SHOWS

TO THE HOUSE THAT LES BUILT

Abbe Sparks

Arnie Goodman

The Electricity was off the charts this Spring

showering The House That Les Built with a

string of electric blues shows in advance of

June’s Les Paul Week in NYC.

This month we celebrate the birthday of legendary

guitarist, inventor, singer-songwriter

Les Paul and “The House that Les Built”

– aka The Iridium in NYC -- which will be

hosting Les Paul Week during the legend’s

birthday week from June 9 thru 15.

Known as the Father of the Electric Guitar,

The Iridium is called “The House That Les

Built” because the iconic musician put the

club on the world map with his 15-year

residency there. Beginning in 1994, Les Paul

played regular weekly shows on Monday

nights, repeatedly packing the 180-seat

midtown venue up until his death in 2009

at the age of 94. Those now famous gigs

transformed the Iridium into a world-renowned

guitar mecca. Needless to say, his

name brought massive star power to The

NYC Club with famous musicians like Keith

Richards, Jeff Beck, Steve Miller, and Zakk

Wylde frequently showing up to jam with

him.

Born on June 9,1915, Les Paul’s contributions

to the solid-body electric guitar and

multitrack recording transformed popular

music forever. The Iridium, the stage he

called home for over a decade, is the natural

setting for this celebration.

“Les Paul’s legacy deserves to be celebrated

while the artists who knew him, played with

him, and were shaped by him are still on the

stage. There is no better place than The Iridium,”

said Olivia Winter, General Manager.

THE IRIDIUM LIT UP NYC

WITH AN EXPLOSIVE SPRING

LINE-UP OF ELECTRIC BLUES

Today at The House That Les Built, music

fans can find blues, rock and jazz artists. This

Spring showered New York City’s renowned

club with a string of electric blues shows.

To say the joint was jumpin’ would be an understatement.

Electrified is a better word to

describe the Spring months at The Iridium.

Several legendary and iconic electric blues

guitarists and their bands lit up the stage in

explosive fashion. The list included electric

blues guitarists Gary Hoey, Walter Trout

(two nights), Davy Knowles, James Hunter,

Tommy Castro & The Pain Killers and Quinn

Sullivan.



THE LINEUP

Gary Hoey -- Kicking Spring’s mini blues-fest off was

electric guitarist Gary Hoey, who treated the New York

crowd to his great electric guitar playing. He was joined

by his 24-year-old son, Ian Hoey. Favorite Electric Guitar

- Gary is best known for playing Fender Stratocaster

guitars. He heavily relies on modified, custom-built, and

signature models to achieve his signature blues-rock and

hard-rock tones.

Davy Knowles – The following night showcased Isle of

Mann native, blues guitarist Davy Knowles. The Iridium

proved a great venue to gear up for this month’s Rorey

Gallagher festival in Bally Shannon. Favorite Electric

Guitar - Davy primarily uses Fender Telecasters.

Walter Trout -- Next up for two sold out nights was the

legendary American blues guitarist, singer, and songwriter

Walter Trout. Walter’s intense live performance

brought the house down both nights. He was joined

on stage by his son Jon Trout. A highlight of his show

was when Walter played a dedication to another blues

legend - John Mayall. He relayed the story of how he got

into John’s band telling the NYC fans that he had to play

rhythm guitar because John had told him he couldn’t be

lead guitarist because Mick Taylor was. Favorite Electric

Guitar -- Walter primarily uses a Delaney Guitar. Walter

Trout Signature model, which is a custom Stratocaster-style

electric guitar. This guitar was custom-built for

him by Delaney Guitars based on the exact specs of his

retired, heavily worn 1973 Fender Stratocaster (“Old

Girl”), which he played for most of his career.

James Hunter – A few nights later. James Hunter hit the

Iridium stage. Favorite Electric Guitar - James primarily

uses a Gibson Les Paul Special, a Gretsch 6120, and a

Gretsch Electromatic Double Jet. He is also known to

occasionally play a modified Les Paul (a 1952 model with

a custom-built neck) and a portable Voyage-Air acoustic

guitar for travel.

Tommy Castro & The Painkillers – Another over the top

night of sensational electric blues at The Iridium. A la Les

Paul’s notorious Monday night jams, bass guitarist Arthur

Neilson (Shemeika Copeland) came up to jam with the

band playing a rousing rendition of”Jim Dandy to The

Rescue.” Favorite Electric Guitar - Tommy primarily plays

his signature Delaney “CastroCaster”, which was custom-built

for him by Mike Delaney. He also heavily relies

on his original 1966 Fender Stratocaster and frequently

uses a Strobel Rambler Travel Guitar while on tour.

Quinn Sullivan – Buddy Guy Prodigy – buddy brought

him into public view but he’s doing in the direction of


singer-songwriter. Favorite Electric Guitar -

Quinn relies primarily on Fender Stratocasters. Regarding

a Gibson Les Paul: He has been known to use a 1958

or 1959 Les Paul for a thicker, classic rock sound.

Closing out the month of May at the Iridium were blues

icons Duke Robillard and Selwyn Birchwood.

THE SUMMER OF BLUES IN A NEW

YORK STATE OF MIND

The summer months promise to keep the electricity high

around the tri-state area and the state with Summer’s

outdoor festivals kicking into high gear. This month, the

annual Blues Jam at Jazz at Lincoln Center will see Christone

‘Kingfish’ Ingram return as the headliner, joined

by New York native Shemeika Copeland for two nights;

Warren Haynes headlining the second annual Hudson

River Festival; and Gary Clark Jr., Eddie 9v and Vanessa

Collier playing the New York State Blues Festival upstate

in Syracuse, NY. Ana Popovic also comes to the City this

month at Sony Hall.


BIG BLUES

REVIEWS

SAMANTHA FISH

PAPER DOLL LIVE

Rounder Records

On Paper Doll Live, Samantha Fish

bottles the kind of high-voltage energy

that separates good live performers

from truly unforgettable

ones. Captured at the legendary Bijou

Theatre, the album doesn’t merely

revisit the songs from Paper Doll, it

tears them apart and rebuilds them

as fierce, hard-hitting blues-rock

workouts loaded with swagger, soul,

and raw emotional power. From the

opening blast of Kick Out The Jams,

Fish and her band sound absolutely

untouchable, locked together with the

confidence of a road-tested unit firing

“the entire set

crackles with

urgency from

beginning to end”

on all cylinders. Her guitar playing is

blistering throughout, full of bite and

attitude, but what gives this performance

its real weight is the passion

driving every note. Bulletproof storms

out of the speakers on the back of a

filthy riff and deep, swampy groove,

while Fortune Teller smoulders with

tension before erupting into one of

the record’s most explosive highlights.

In the live arena, the song takes on

an even greater sense of drama and

danger. Elsewhere, Dream Girl reveals

another side of Fish’s artistry, blending

smoky atmosphere with vulnerability

and emotional depth without sacrificing

any of the album’s intensity. Crowd

favourites Sweet Southern Sounds and

the title track pulse with confidence and

chemistry, underlining exactly why Fish

has become one of the most captivating

figures in modern blues-rock. What

makes Paper Doll Live such a compelling

listen is the sense of immediacy running

through it. There’s no glossy studio polish

masking the performance, just a fearless

band feeding off the audience and

stretching every song beyond its studio

origins. Fish’s vocals are commanding,

her solos arrive with fire and purpose,

and the entire set crackles with urgency

from beginning to end. In the end,

Paper Doll Live stands as a triumphant

statement from an artist operating at

the height of her powers. Samantha Fish

isn’t just one of contemporary blues’ finest

guitarists, she’s one of its most electrifying

live performers.

COLIN CAMPBELL

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BOBBY PARKER

FUNKY CHILDREN

(UNRELEASED HOME

RECORDINGS 1978-

1985)

Smiling Pig Records

Robert Lee “Bobby” Parker (1937-

2013) is probably best known for

his 1961 hit “Watch Your Step” that

was apparently performed by and

influenced the Beatles. “Funky Children”

is a retrospective on a period

of his life between approximately

1978 and 1985. Salvaged from a

collection of reel-to-reel tapes that

were destined for the bin and restored

by Steven Charles Cecil, with

help from Jim Fox of Lion and Fox

recording, although even with their

dedication some of the vocal tracks

could not be fully restored and

there is definitely some harmonic

distortion on some of the tracks.

Consisting of 20 tracks salvaged

from those tapes, this CD is very

much a record of a time and a place.

The grooves are very much in the

Adam Kennedy

74 BLUES MATTERS! ISSUE 162

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Jazz-funk style, which was prevalent

at the time of recording. There were

few notes taken on who played what on

what track although it is thought that

a lot of the drum tracks were recorded

using a drum machine and that adds

to the 702 feel of the tracks. It should

also be noted that the majority of the

tapes are not complete recordings, and

in many cases more ideas or experimentation.

This gives the tracks a very unfinished

feel and while there is a strong

argument for raw recording, these are

perhaps too raw for every taste. This is

very much a cd for the historians or for

fans of Bobby Parker.

PAIUL DUBBELMAN

BILLY PRICE

RANDOM MADNESS

Get Hip Recordings

Billy Price has long understood that soulblues

is at its most compelling when silk meets sandpaper,

and on his new release he strikes that balance with remarkable assurance.

Produced by Grammy-winning drummer and studio ace Tony Braunagel, the

album captures Price at a point where experience and curiosity walk hand in

hand. He sounds like a man with nothing left to prove, yet plenty still to say.

Across eleven original tracks, Price and longtime writing partner Jim Britton

dig deep into the rich seams of soul, Memphis R&B, blues-rock, and smoky

after-hours jazz. The songs breathe with authenticity. I Got That Dog in Me

struts with playful swagger, while Hungry Ghost, taps into a deeper, more reflective

current. These are songs shaped by lived experience; full of longing,

resilience, and the restless search for meaning yet delivered with a disarming

warmth and a sly wink. Price’s voice remains a formidable instrument.

mature, heartfelt, and utterly

satisfying.

Time has only added depth to its grain, preserving that unmistakable rasp

while enriching it with greater subtlety and emotional range. He can still ride

a groove with commanding authority, but it’s in the quieter, more intimate

moments that he truly shines. Curiosity and Stickers on My Suitcase reveal

a singer willing to embrace vulnerability without ever sacrificing strength.

Backed by his ever-reliable band, and guided by Braunagel’s organic, uncluttered

production, Price keeps the music loose, soulful, and deeply alive. The

title track, elevated by the eloquent trumpet of Sean Jones, provides a fittingly

sophisticated finale. Random Madness is contemporary soul-blues at

its finest; mature, heartfelt, and utterly satisfying.

COLIN CAMPBELL

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BURNING ROPE

DISSOLOUTION

Independent

Burning Rope are back again with another

stellar release. Following on from the amazing Catfish,

these guys have not tried to stick with the same formula, a new sound, a new

direction. Dissolution is full of Funk, Soul, Blues, and Rock, with the odd twist

thrown in for good measure. Waste opens up the proceedings with heavy

guitar courtesy of Alex Voysey, a much-travelled but highly regarded musician.

Just Leave, written by Fiona Long, goes to prove that the Long family

has music coursing through their veins. What I find most appealing about

this collection of material is the fact that they are willing to push boundaries,

both musically and lyrically. The tunes glide easily with the ability to morph

in differing directions at the drop of a hat. Flow puts me in mind of Genesis,

Supertramp, and, dare I say, early Hall and Oates. Now this might sound highly

contentious, but that is the beauty of this bunch of guys, they take you to

a monumental album

places that you would never expect to find yourselves in. Running Up That

Hill, yes, that song by Kate Bush, is given a new lease of life. This is by no

means a cheap filler on the album; it is wonderfully re-worked with a brand

new stamp. I told you this was an interesting album. Few bands would have

the courage to do a song like this; Burning Rope embraces the challenge.

The final song, Sad Like Sinatra is a masterpiece. As I began to listen, I never

thought that I would be taken on such a brilliant musical journey. This particular

song will be a highlight of any gig they play in the future. Bravo, guys,

a monumental album.

STEPHEN HARRISON

THORBJORN RISAGER &

THE BLACK TORNADO

LIVE AT HOTEL CECIL

Provogue Records

Thorbjørn Risager & The Black Tornado’s

live album release, arrives as a vivid

document of a band not to be missed

playing live. Captured in Copenhagen’s

storied Hotel Cecil; a venue steeped

in art deco atmosphere and cultural

history—the recording finds the Danish

octet in their natural habitat: the stage,

where discipline and fire collide in

equal measure. From the opening surge

of Already Gone, the album makes

its intent clear. This is not a polished,

sanitised live record, but a room-filling

performance that breathes, strains,

and occasionally bursts at the seams.

Risager’s voice remains the gravitational

centre, gravel-warm, soulful, and

capable of sliding from croon to bark in

a heartbeat, while the Black Tornado

provide a muscular framework of horns,

organ, and rhythm section punch. The

result is a sound that feels both tightly

arranged and gloriously loose, as if the

band is constantly deciding whether to

rein itself in or push harder. Standouts

like Hold My Lover Tight and Inner

Light underline their ability to fuse Chicago

blues grit with Scandinavian polish

and soul-inflected rock swagger. The

horn section, in particular, gives the set

its cinematic lift, recalling the big-band

urgency of classic Stax-era ensembles

without slipping into nostalgia. What

makes this release compelling is its consistency

across a sprawling setlist. Even

deeper cuts sustain momentum, reflecting

a road-hardened unit that thrives on

repetition and reinvention night after

night. If anything, this release, reinforces

what decades of touring have already

proven: this is a band built for live

combustion. It may not reinvent their

formula, but it doesn’t need to. This captures

the band at full voltage; honest,

expansive, and unmistakably alive.

COLIN CAMPBELL

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CARLOS JOHNSON AND

HIDEAKI TANAKA

BLUES IT’S POWERFUL

STUFF

P-Vine


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First we begin with the negative aspect

of this album. That sole comment is that

this is a Japanese record and, as a result,

most of the cover booklet content

is in that language. So I can offer you no

real details other than the band members

names and the track titles. Ok got

that out the way and on to the music

contained and, as the title suggests, this

is indeed powerful stuff. In fact I might

even have gone so far as to use more

colourful language to describe these

seven cuts however decorum prevails.

Suffice it to say that this is Blues of the

highest order, played with passion and

pure collective joy. Carlos and Hideaki

share guitar and vocals very ably supported

by Hiromi Takai on keyboards,

Yohei Kisanuki bass and holding down

the back beat Shigeo “Sanpei” Hirayama

drums. It is very evident that the

recording has been done with all participants

playing “in the round” together.

You just don’t get this fabulous result

by any other means. These guys are just

feeding off each other, reading each

other’s eyes and fingers constantly.

Don’t be put off with there being only

seven tracks as the album weighs in at

over seventy three glorious minutes.

Only a single original in My #1 Son

whilst the rest dives into a Jimmy Reed

medley, a couple of Willie Dixon sitting

alongside Mel London, Hudson Whittaker

(Tampa Red) and Benny Lattimore

whose Let’s Straighten It Out would be

my favourite cut here. A deeply Soulful

groove with George Benson Jazz overtones.

I really do recommend seeking

this collection out. You know what?

Screw it as this is fxxking brilliant.

GRAEME SCOTT

CHRIS BERGSON

EAST RIVER BLUES

CRS

Three decades deep into New York City

life, Chris Bergson sounds completely

at home on East River Blues, a record

steeped in after-hours soul, jazz-club

cool and the kind of hard-earned

musical maturity you cannot fake. This

is Bergson at his most focused and

emotionally direct, trading flashy solos

for deep grooves, rich atmosphere and

songs that breathe with lived-in authenticity.

Locked in with the world-class

rhythm section of Larry Grenadier on

bass guitar and Herlin Riley on drums,

Bergson keeps the arrangements lean

and fluid. The result is a record that

ELIZA NEALS

THUNDER IN THE HOUSE

E-H Records

Thunder In The House opens ferociously with

Speedy Beady, a powerhouse riff, and the raunchy vocals

of Neals. This has me hook, line, and sinker from the outset. So Bluesy and

charismatic, and with the word “Rooster” in the lyrics, well, you can’t get

more Blues than that. All of the songs on the album are original and feature

most of the musicians, with Eliza Neals being the main contributor. Blues

Bombshell is simply magnificent, the title describing the content so eloquently.

“Detroit,” Mike Hepner accompanies the song on piano. His style

reminds me of Otis Spann in his early years; it’s as though Hepner is telling

magnificent collection of songs

us, “I’ll throw in the black keys for free”. What strikes me most vividly about

this album is its intensity, its no-holes-barred attitude; this is how Blues is

meant to sound. Neals is one hell of a gifted artist, songwriter, musician, and

vocalist. There are many gifted female Blues artists around at the moment,

Eliza Neals is as good, if not better than any of the others. Locked Up and

Wicked Heart, both penned solely by Neals, highlight what I have previously

said about her: she’s at the top of her game. Thunder In The House closes this

magnificent collection of songs, and it immediately put me in mind of, When

The Levee Breaks, I mean that as a massive compliment to Eliza Neals and

the rest of the musicians. Judge for yourselves, I’m sure that you will concur.

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GREG PICCOLO &

HEAVY JUICE

WHO KNOWS WHAT THE

FUTURE HOLDS

MoMojo

RecordsAt 75, Greg Piccolo isn’t looking over his shoulder. On his new

release, he sounds like a man cutting straight to the bone; no gimmicks, no

grandstanding, just deeply rooted rhythm and blues played with grit, heart

and hard-earned wisdom. Best known for his ferocious tenor sax work with

Roomful of Blues, Piccolo turns the spotlight onto his songwriting here,

and the result is one of the most personal records of his career. Produced

by the late Terry Manning, the album moves effortlessly between greasy

late-night grooves and reflective storytelling. There’s plenty of bite in cuts

like Truth Is a Sly Fox and Don’t Tell Me The Truth, where Piccolo delivers

sharp observations with a sly grin and a veteran’s sense of timing. But beneath

the swagger lies an unmistakable vulnerability. Songs such as Break

In The Clouds, and Guilty, carry the bruised honesty of someone who has

lived every mile of the journey he sings about. Vocally, Piccolo doesn’t rely

on polish. His delivery is weathered, loose and conversational the kind of

voice that earns its authority rather than demanding it. When that unmistakable

tenor sax finally tears through the mix, it does so with precision and

purpose. There’s no needless flash here; every note serves the song. What

gives this release its real strength is its refusal to chase relevance. Piccolo

isn’t interested in reinventing himself for modern audiences. Instead, he

doubles down on timeless blues and rhythm and blues traditions, crafting

a record rich in groove, soul and lived-in truth. Rather than sounding like a

veteran revisiting past glories, Piccolo emerges here as an artist still finding

new depth in the music that shaped him.

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moves with effortless confidence. Muddy

Waters’ Mean Disposition opens

the album with streetwise swagger and

greasy bite, while the title track, East

River Blues rolls on a smoky late-night

pulse, elevated by Jay Collins and his

full-bodied tenor saxophone attack.

Bergson’s guitar work is masterfully

understated throughout as it is, soulful,

economical and deeply melodic,

drawing as much from jazz phrasing

as the electric blues tradition. The

standout track for this reviewer is the

haunting Little Girl Blue. It drifts in

like neon reflecting off wet Manhattan

sidewalks, equal parts heartbreak and

sophistication, with Bergson delivering

one of the album’s most intimate vocal

performances. Elsewhere, Sad Strains,

lands with bruised elegance, and What

Would I Do Without You, glows with

loose, after-midnight warmth. By the

time Herbie Hancock’s Driftin’ closes

the set, Bergson has crafted a blues

album defined not by excess, but by

nuance, feel and quiet mastery. One

for any music lover’s collection this is a

must buy record.

DANA FUCHS

LIVE IN DENMARK

Ruf

COLIN CAMPBELL

These ten cuts were recorded Live

In Denmark back in October 2025

however in a strange way this is not

really a live album. What the heck is he

talking about I can imagine you thinking?

Well each of the cuts are indeed

just that individual cuts which fade out

(not the actual music) between each. So,

in my opinion it loses out on a cohesive

atmosphere. Having said that the

actual music is very good indeed with

Dana and her three road warrior band

colleagues in fine form. The audio is well

recorded Dana’s vocals are crisp and

clear. Solid support from Jon Diamond

guitar, Kevin Mackall bass and Piero

Perelli drums. Eight songs are originals

sitting alongside two covers from Gil

Scott Heron’s heartbreaking Home

Is Where The Hatred Is and Jagger

& Richards Sympathy For The Devil.

I admit to not being overly familiar

with her nearly dozen albums so can

only guess that the originals here are

harvested from those. For certain there

are elements of vocal styling with Janis

Joplin and whilst similar I did not find



myself drawn into a comparison debate.

Dana is very much Dana and, were she

to tour near me, then I would make

good efforts to attend. What is not to

like when you marry up powerhouse

vocals and a thumping rhythm section?

Coming out of the blocks at full tilt and

never putting a foot wrong, heck she

even drops in a bit Ain’t No Love In The

Heart Of The City within her cut Curtain

Close, which always gets my vote

as a song. Found myself singing along

at the appropriate section of Sympathy.

So not a bad outing at all just not quite a

fully live concert experience.

DENISE LA GRASSA

A CROSSROADS

COMMUNION

Deelagee Records

GRAEME SCOTT

Denise La Grassa has always charted

her own course. Born in Chicago and

raised in Wisconsin, she first displayed

her fearless streak as a teenager, setting

a world trapeze record on a dare.

Later, she toured with the legendary

The Second City, sharpening the adventurous

instincts that now define her

music. On this new release, La Grassa

delivers her strongest statement yet.

Rooted in Hill Country blues, enriched

by Memphis soul and touched with jazz

elegance, the album honours tradition

while sounding wholly contemporary.

Across nine tracks, she commands

attention with expressive vocals,

evocative organ, and deeply felt lyrics.

Longtime collaborator John Kregor

provides inspired compositions and

superb guitar, while Alvin Santner, Stephen

Ryan, Steven C. Manns, Timothy

Walker, and harmonica master Pierre

Lacocque form a stellar supporting cast.

Produced by Jim Gifford at Chicago’s

Narwhal Studios, the recording balances

gritty authenticity, soulful warmth,

and refined musicianship. Big Bad

Dream opens with a hypnotic Hill Country

groove, while These Vain Games

showcases La Grassa’s deep feel for the

blues. Her vocal delivery on, I’ll Play the

Blues for You is beautifully restrained

and emotionally direct. Throughout, she

explores resilience, truth, compassion,

and accountability. From the haunting

Who Will Mourn You, to the spiritual

pull of The Jesus Reel and the life-affirming

swagger of Go Down Laughing

Good, La Grassa sings with conviction,

SHERRI HARDING

STORYLAND

Instant Replay Music

On her newest eleven track release, Sherri

Harding delivers the kind of record that feels lived-in rather

than manufactured, this is a rich, road-worn blend of soul, blues and R&B

steeped in emotional honesty. Produced and written by Richard Cooper, the

album carries the unmistakable glow of Muscle Shoals without ever sounding

like an exercise in retro imitation. Instead, Harding takes those classic

Southern textures and filters them through a distinctly Canadian storyteller’s

lens. From the opening groove of, All Around the World Tonight, Harding

sings with conviction and authority, her voice balancing smoky restraint

with powerhouse intensity. The wonderfully rhythmic, Money Man, swings

with punchy horn arrangements and sly lyrical wit, while Down In The Shoals

acts as both memoir and love letter to the Alabama sound that shaped the

record’s heartbeat. The album’s emotional centre arrives with Through It All,

an album made by musicians who

have paid their dues

a duet with Jeff Rogers that radiates warmth and mature reflection. Harding

never oversings anything, she trusts the material, allowing the songs to

breathe naturally. That confidence gives this release its staying power. Tell

Me Your Mine is a pleading lament, raw and emotional delivery with a full

band sound, strings, backing vocals and saxophone solos from Brad McGuin,

just superb. Instrumentally, the record is first-rate. Contributions from guitarist

Kelvin Holly and the legendary The Muscle Shoals Horns add grit,

swagger and depth throughout. At a time when so much contemporary soul

feels polished to perfection, Storyland succeeds because it embraces imperfection,

humanity and heart. It’s an album made by musicians who have paid

their dues and every note sounds earned.

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intelligence, and heart. A Crossroads

Communion proves she is not merely

preserving the blues, but revitalising

it with imagination, authority, and

soul-stirring originality for a new generation

of listeners everywhere.

COLIN CAMPBELL

JARED JAMES NICHOL

LOUDER THAN FATE

Frontiers Music

There’s a moment on this release

where everything locks in; grit, groove,

and conviction collide and it becomes

clear that Jared James Nichols isn’t

just carrying the blues-rock torch, he’s

redefining how it burns in 2026. This is

an artist fully stepping into his own skin.

Known for his ferocious, pick-free guitar

style, Nichols once let his playing do

most of the talking. Here, the conversation

broadens. The album trades sheer

force for control and intent, shaped

by years on the road. From the outset,

the impact is immediate. Let’s Go and

Runnin’ Hot, burst open with thick,

unfiltered riffs and Nichols’ trademark

bare-knuckle tone. There’s no polish for

polish’s sake, just raw, amplifier-driven

energy that feels alive. Producer Jay

Ruston balances clarity with grit. The

sound is modern and stage-ready, yet

never loses its edge, allowing Nichols to

feel both contemporary and rooted in

tradition. What elevates Louder Than

Fate is its sense of space. Bending Or

Breaking and Killing Time, pull back,

revealing a more cinematic side; subtle

textures, wider dynamics, and a clear

evolution beyond riff-driven writing.

Vocally, Nichols is at his strongest. His

voice now carries equal weight, gravelly,

soulful, and expressive but also with

a vulnerability that anchors the record

emotionally. Across ten tight tracks,

nothing is wasted. The album is focused,

confident, and purposeful. Nichols has

always had the firepower; here, he

proves he has the vision to match, delivering

a blues-rock statement that resonates

long after the final note fades.

COLIN CAMPBELL

JENNIFER LYN AND

THE GROOVE REVIVAL

ELECTRIC EDEN

Independent

Recorded live at the Belle Mehus Auditorium

in Bismarck, this new album

finds Jennifer Lyn and the Groove

Revival delivering soulful blues rock,

and slick, well produced ballads to a

lively and appreciative audience. The

vast majority of the material is written

by singer and guitarist Jennifer Lyn, and

guitarist Richard Torrance, with a grasp

of pacing and putting parts together

that fit well. Drummer Jim Anderson,

keyboard player Barb Jiskra, bassist

Nolyn Falcon, and guest guitarist

Jaxon Fitterer provide strong support

throughout the album. With three

guitars in the line-up, there is some fine

harmony playing, with elements of both

The Allman Brothers Band, and heavier

bands, and the supple, fiery lead vocals

of Jennifer Lyn carry the weight of the

LISTEN TO THE BLUES MATTERS

PODCAST

Listen to some amazing interviews with

the artists we’ve been lucky enough to speak

to for the magazine. NOW ON YOUTUBE!

Paul JUNE

PHILIP SAYCE

Blues Matters speaks to Philip Sayce about his musical roots, live

performance, and the release of Scorched Earth Vol 2.

JUDITH OWEN

Blues Matters speaks to Judith Owen about her outstanding new

album Suit Yourself, the deep musical pull of New Orleans, and the

joy at the heart of jazz, blues, gospel and soul.

MARC BROUSSARD

Marc Broussard joins Blues Matters to discuss his powerful new

album Chance Worth Taking.


S

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STEVE SUMMERS

BAND

REWIRED

Independent

Rewired is the third album that these guys have released. The two before

gained the band many accolades and awards, so I approach this album with

a modicum of respect. It pains me to say that this is the first time that I have

come across these guys, so let’s see what they are all about. Rewired kicks

off with I’d Be A Fool, which contains a great funky groove that soon gets

involved with gutsy guitar courtesy of Steve Summers. As well as the lyrics

and guitar work, the band proves that they have a great knack for harmonies,

which you don’t normally expect from a Blues/Blues/Rock album. Apart from

two tunes, all of the songs are original, mainly penned by Steve Summers. I

Should’ve Known Better gets down and very dirty in the finest tradition of

Blues music, and contains wonderful Hammond Organ from Simon Needler.

One of the other things about the album that caught my ear was that I was

put in mind a few times of middle 70s rock, Peter Frampton, etc., and I mean

that as a huge compliment. One of the covers, Third Degree, written by Eddie

Floyd and Willie Dixon, had me transfixed as soon as I saw the writing

credits. Firstly, to do a cover such as this, you need balls of steel; secondly,

you need to be up to the task. These chps have qualified on both counts, a

marvellous tip of the hat to two Blues legends. A New Day Yesterday was

given a new lease of life, originally written and performed by Ian Anderson

and Jethro Tull. It has a rockier earthy style than the original. I enjoyed it

so much, I hardly missed the obligatory flute solo. I can highly recommend

this collection of material in the same way that I can highly recommend this

band. Bravo.

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opening blues rock of Breaking Chains,

and the soft rock of album closer Refuge.

The two covers, When the Levee

Breaks, by Memphis Minnie, and Grace

Slick’s White Rabbit are performed

with passion and vigour, and originals

such as Lay Your Memory Down, with

a coda that borrows from Joe Cocker’s

arrangement of With a Little Help From

My Friends and Sucker for The Pain

is a keyboard powered blues shouter.

Nothing Holding Me Down is a slow

funk tune, with plenty of welly in the

guitar parts, Baggage has a slow reggae

tilt, and melodically keening slide guitar,

and 59 Cadillac is another strutting

blues funk piece. This is a good album,

very well recorded in the live setting,

with six players supporting the writing

of two creatives who know their craft.

BEN MACNAIR

KRISSY MATTHEWS

& THE VIKINGS

ROCK AND ROLL SOLDIER

Ruf Records

There’s a restless streak running right

through this record—a refusal to sit still

inside the lines of tradition. This British-Norwegian

singer-guitarist doesn’t

so much play the blues as he reshapes

it, pulling threads from R&B and rock ’n’

roll and twisting them into something

raw, immediate, and very much alive.

The roots are always there, but they’re

being bent, stretched, and reimagined

in real time. He’s surrounded himself

with serious company, too. Tommy

Castro lends his six-string firepower

to Pharo Blues, while Will Wilde,

Pablo van de Poel, Hans Theessink, Ida

Maria, and Tora Dahle Aagård all leave

their fingerprints across the sessions.

Behind it all stands his Norwegian trio,

The Vikings; bassist Trond Hansen and

drummer Kåre Amundsen, laying down

a backbone that’s as solid as granite.

What really hits you is the chemistry.

This isn’t a stitched-together studio

project, it breathes. There’s a collective

charge in the air, that sweet spot where

spontaneity meets precision, and every

track feels like it’s unfolding right there

in the room. The title track kicks the

door wide open, landing with authority

and a vocal delivery that grabs you by

the collar. 44 Blues struts in with real

attitude, Wilde’s harmonica cutting

through with bite and soul. Then there’s


THE BIG BLUES CHART

THE TOP 50 BLUES ALBUMS

E2026 REVIEWS JUNE2026 REVIEWS JUNE2026 REVIEWS

POS ARTIST ALBUM LABEL

#1 LIL’ ED AND THE BLUES IMPERIALS SLIDEWAYS ALLIGATOR RECORDS

#2 SELWYN BIRCHWOOD ELECTRIC SWAMP FUNKIN’ BLUES ALLIGATOR RECORDS

#3 MIKE FINNIGAN MIKE FINNIGAN FORTY BELOW

#4 BOB CORRITORE ERNESTINE BLUES VIZZTONE

#5 DUKE ROBILLARD & HIS ALL STAR BAND BLAST OFF NOLA BLUE RECORDS

#6 CURTIS SALGADO LEGACY REWIND: LIVE IN ‘25 NOLA BLUE RECORDS

#7 RICK VITO SLIDEMASTER MOMOJO RECORDS

#8 GABE STILLMAN WHAT HAPPENS NEXT? GULF COAST

#9 MIKE ZITO OUTSIDE OR THE EASTSIDE GULF COAST

#10 AMANI BURNHAM ROOTS & WINGS BLIND PIG

#11 OMAR COLEMAN & IGOR PRADO OLD NEW FUNKY & BLUE NOLA BLUE

#12 LAURA CHAVEZ MY VOICE RUF RECORDS

#13 TERESA JAMES & THE RHYTHM TRAMPS BAD AT BEING GOOD MOMOJO

#14 ALTERED FIVE BLUES BAND HAMMER & CHISEL BLIND PIG RECORDS

#15 TEDESCHI TRUCKS BAND FUTURE SOUL FANTASY RECORDS

#16 JOE BONAMASSA B.B. KINGS BLUES SUMMIT 100 KTBA RECORDS

#17 GARRET T. WILLIE BILL’S CAFE GULF COAST

#18 TINSLEY ELLIS LABOR OF LOVE ALLIGATOR

#19 CHARLIE BARATH ISSAQUENA GETAWAY SELF

#20 PETER VETESKA & BLUES TRAIN KEY OF V MOMOJO RECORDS

#21 SETH JAMES MOTORMOUTH QUALIFIED RECORDS

#22 STEFAN HILLESSHEIM BAND LIVE AT CHICAGO BLUES FESTIVAL STELLA BLUE MUSIC

#23 SEAN MCDONALD HAVE MERCY! LITTLE VILLAGE

#24 MICK KOLASSA BLUE TO THE BONE ENDLESS BLUES RECORDS

#25 BILLY THOMPSON THIS WORLD MOMOJO RECORDS

#26 CRYSTAL SHAWANDA SING PRETTY BLUES NEW SUN

#27 MIKE GULDIN WHILE I CAN BLUE SKY

#28 ROOMFUL OF BLUES STEPPIN’ OUT ALLIGATOR

#29 ELIZA NEALS THUNDER IN THE HOUSE EH RECORDS

#30 KIM WILSON SLOW BURN M.C. RECORDS

#31 MARC BROUSSARD CHANCE WORTH TAKEN KTBA RECORDS

#32 BUDDY GUY AIN’T DONE WITH THE BLUES RCA SILVERTONE

#33 PETER KARP JERSEY TOWN ROSE COTTAGE

#34 STACY MITCHHART NO RHYME OR REASON DR. SAM RECORDS

#35 D.K. HARRELL TALKIN’ HEAVY ALLIGATOR RECORDS

#36 THE JAMES HUNTER SIX OFF THE FENCE EASY EYE

#37 GUY DAVIS & COREY HARRIS... FIGHT ON ! TRUE BLUES VOL 2 YELLOW DOG RECORDS

#38 BILLY PRICE RANDOM MADNESS GET HIP

#39 THE CD WOODBURY TRIO BULLDOG LIGHTNING IN A BOTTLE RECORDS

#40 LEXIE BLUE TOO GLAM TO GIVE A DAMN SELF

#41 BROOKS MILGATE ROLL WITH THE PUNCHES MOMOJO RECORDS

#42 KYLE ROWLAND NOT HOLDING BACK LITTLE VILLAGE

#43 ED ALSTROM THIS IDEA OF HUMANITY… SELF

#44 CHARLES TINER GOOD SOUL SELF-RELEASE

#45 PONTCHARTRAIN SHAKERS LOVE, PEACE, & CHICKEN GREASE SOUTHLAND RECORDS

#46 TOMMY CASTRO & THE PAINKILLERS CLOSER TO THE BONE ALLIGATOR RECORDS

#47 MISSISSIPPI HEAT DON’T LOOK BACK DELMARK RECORDS

#48 LUKE WINSLOW-KING COAST OF LIGHT BLOODSHOT RECORDS

#49 GUY VERLINDE BEST OF BLUES BANDR MUSIC

#50 JOANNE SHAW TAYLOR WHAT GOOD IS MY LOVE JOURNEYMAN RECORDS


REVIEWS JUNE2026 REVIEWS JUNE2026 REVIEWS JUNE2026 REVIEWS JUNE2026 REVIEWS DECEMBE

JUNE2026 REVIEWS JUNE2026 RE

ANDY SMYTHE

QUIET REVOLUTION

Dreaming Element Records

The eighth album by Londoner Andy Smythe

contains a dozen stories highlighting the plight of modern

living. “Solitary... poor... brutish” opener Life Of A Man demonstrates

his descriptive songwriting. Kit Dellow-Jones’ trumpet and Paul Challenger’s

guitar accompany Smythe as he delves into the day-to-day difficulties

facing today’s generation – “filled with rage... sold down the river” in the socalled

“promised land” whilst taking a pop at today’s music scene “rock n roll

is sick and lame”. Smythe’s harmonica provides a bluesy element before he

pleads for his heart to be saved throughout the upbeat, catchy Emergency.

Smythe’s haunting vocals “wash away the rain” as strings “make rainbows”.

Majestic stuff. Soaring Beatrice Limonti strings whip Love Ain’t Free into life,

as Smythe subtly points out social injustices likening Brexit to a relationship

breakup “another tax levied on the poor... Whatever happened to liberty and

dignity”. Chris Payne’s instrumentation creates a moody, dark feel throughout

Rage In Me as Smythe ‘paces like a lion in a cage’ whilst he anticipates the

arrival of ‘the hangman’s noose’. The strings providing a sense of foreboding.

In stark contrast That’s Why Love is sees Luke Montgomery’s uplifting sax

provide a danceable touch whilst trumpet permeates Half Empty Half Full.

Laced with Limonti strings and dramatic keys Sake Of A Song is the album’s

ubiquitous ballad, Smythe highlighting the emotions experienced throughout

the creation of a song. ‘Entangled like two photons’ - Delightful acoustic

guitar intertwines with Limonti strings as Because further demonstrates the

genius of Smythe’s creativity and his vocal prowess. Large, powerful and formidable

– the definition of Leviathan. ‘There’s some magic yet to be revealed’

as Smythe throws a final curve ball in the form of ska into the mix. ‘We’re

born unique from USA to Burkina Faso’ – Smythe most certainly lives up to

that mantra as we finish with Fallen Angel which lambasts the selfishness

of mankind. A unique album by a unique performer. Quiet Revolution most

certainly deserves your attention.

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Fell In Love With A Girl, elevated into

something altogether more lush and intoxicating

by Tora Daa’s sublime vocal.

Later, Catfish gets dragged through the

mud in the best possible way, grungy,

hollering, and driven hard by Pablo van

de Poel’s guitar snarl. When you reach

Sjitfest, the closing cut, it’s all looselimbed

magic, a proper blues jam where

Hans Theessink’s slide work locks in

with the rhythm like old friends finishing

each other’s sentences. Ten tracks,

not a moment wasted. It’s experimental

without losing the plot, loose without

falling apart, and above all, it feels alive,

like a late-night session that just happened

to get captured on tape. This isn’t

just a strong album, it’s a statement.

COLIN CAMPBELL

LESTER WINCHESTER

MCKENDREE

THEY GOT IT ALL

Times Three Records

On, They Got It All, Lester Winchester

McKendree don’t sound like a freshly

assembled supergroup testing the waters,

they sound like three road-hardened

veterans who’ve been trading

grooves for decades. The chemistry between

drummer Jimmy Lester, bassist/

vocalist Mark Winchester, and keyboard

maestro Kevin McKendree is immediate

and instinctive, the kind of musical

shorthand that can’t be rehearsed

into existence. Cut live over two days

at McKendree’s Tennessee-based Rock

House studio, the album leans into grit

and spontaneity rather than studio

perfection. There’s an unfiltered energy

running through these performances,

driven in large part by Winchester’s

unconventional two-string bass rig,

which often occupies the space where a

guitar would normally sit. The result is a

lean, swampy sound that straddles the

line between back-porch blues, greasy

garage rock, and late-night Americana.

What gives this release its punch is the

trio’s restraint. Nothing feels forced,

oversold, or dressed up for effect. I’m

No Amateur struts with the swagger of

a smoke-filled barroom anthem, while

Down The Same Street and Baby’s

Carburettor, land with hooks strong

enough to linger long after the needle

lifts. The title track finds the band at



its loosest and most compelling; sly,

relaxed, and completely locked into the

groove. McKendree’s keyboard work is

a masterclass in feel, shifting effortlessly

from rollicking boogie-woogie flourishes

to understated, smoky restraint.

Behind it all, Lester’s drumming keeps

the record rolling with an easy, unflashy

swing that never begs for attention but

constantly drives the music forward. It’s

proof that when the chemistry is real,

groove doesn’t need embellishment.

LUKE WILSON -KING

COAST OF LIGHT

Bloodshot Records

COLIN CAMPBELL

With Luke on vocals, percussion, and

guitar, Roberto on guitar, Simone

on bass, Piero on drums and congas,

Fender on the organ and piano, Nicola

on another set of drums, and Giacomo

on mallet percussion, you know you

are in for a riot of rich sounds. Coat of

Light is an 11-track album with varying

influences felt throughout, kicking

straight off the blocks, snazzy and

competent with “Dangerous Blues” and

then moving through 10 further tracks

showcasing the influences and musicianship.

Lovely production, clean, with

the array of musicians and the influence

of New Orleans and then Spain, add the

rich and warm vocals of Luke, and the

combination makes for a cool, smooth,

and textured result.Could be the

soundtrack for a modern-day western,

sweet, cool, smooth, with great storytelling

and a little edge.

JEAN KNAPPITT

MARCO BARTOCCIONI

BARTOK

Independent

Marco Bartoccioni’s newest release

may borrow its title from the world

of Béla Bartók, but the soul of this

record lives far from the concert hall.

Instead, it breathes in dimly lit blues

clubs and along rain-soaked highways

where Rome collides with Nashville in

a haze of smoke, neon, and late-night

reflection. At the centre of it all is

Bartoccioni’s lap steel, an instrument

that becomes less a musical accessory

and more the album’s storyteller. From

the opening moments, Bartoccioni

reveals a remarkable ability to coax

emotion from every note. On No Way

Back, the lap steel aches with quiet

tension, hanging in the air with a cinematic

sense of longing. Love Is Gone

drifts into more introspective territory,

pairing Southern soul textures with a

distinctly European sense of restraint

and elegance. Then comes the beautifully

haunting tones of, Burn In Your

Soul, where the mood and flow points

to loss and separation, a song building

up to a crescendo of emotions, pushing

the album into darker and more intense

territory. What makes this release

particularly compelling is its command

of atmosphere. Bartoccioni avoids rigid

blues conventions, allowing the songs

to breathe naturally while mandolin,

dobro, and subtle modern touches

widen the sonic landscape. The production

is polished without losing its raw

humanity; every phrase feels travelled,

weathered, and earned. There’s discipline

in the songwriting too. Bartoccioni’s

measured European sensibility

keeps the album focused even during

its most atmospheric detours. Bartok,

doesn’t attempt to reinvent the blues,

it honours its spirit with authenticity,

depth, and a quietly powerful sense of

connection.

COLIN CAMPBELL

MICHAEL J SHEEHY

& THE HIRED MOURNERS

DON’T WE DESERVE

SOME SORT OF LOVE?

Dimple Discs

Michael J. Sheehy has always written

like he’s rummaging through the ruins

of romance, faith, and memory, and on

this new release, he sounds as though

he’s finally stopped searching for answers

and started living with the wreckage.

It’s a stark, beautifully bruised

record, one that feels less like a comeback

and more like a late-night confession

overheard through a half-open

bar door. Across ten songs, Sheehy and

The Hired Mourners build a world of

cracked pianos, low-lit guitars, and arrangements

that drift between funeral

march and saloon hymn. Titles alone,

Like Blood On Snow, Only Drinking

In My Dreams, If I Had Known It Was

The Last Time ; suggest the emotions

here are, intimate, regret-soaked, and

unflinchingly human.

What makes it compelling isn’t just the

sadness; it’s how lived-in that sadness

feels. Sheehy’s voice remains one of

Britain’s great underused instruments,

part preacher, part ghost, part man

who’s seen the sun rise after making all

the wrong choices. He never oversells

the drama. Instead, every line arrives

with the calm authority of someone

who knows heartbreak isn’t explosive,

it’s cumulative. The band understand

the assignment perfectly. Nothing is

flashy, every brushed snare, every hollow

chord, every measured pause gives

these songs room to bleed. The title

track lands as the emotional centrepiece,

not because it offers comfort, but

because it asks the kind of question that

gets heavier the older you get. This is an

album of hard-won tenderness. Sheehy

isn’t chasing redemption here. He’s

documenting what survives after hope

leaves the room and somehow, making

it sound strangely comforting.

COLIN CAMPBELL

SONNY BOY WILLIAMSON

MR DOWN CHILD – 1951

– 1954

Jasmine Records

Recorded between 1951 and 1954 the

29 tracks on Mr Down Child show the

blues Harmonica virtuoso Sonny Boy

Williamson at the top of his game, playing

sessions with many blues, and rock

and roll artists. His tone, and rhythmic

dexterity is pushed to the fore, with

the quality of the recordings being

of a uniformly high standard for the

time. The tunes range from the upbeat

opener Eyesight to the Blind, and the

slower blues of Mighty Long Time. The

songs are taken from the seven albums

that were made in the early 1950’s,

and feature musicians such as Elmore

James and BB King. The emphasis is on

the vocals, and harmonica, but it is also

a reminder of how good, and prolific a

song-writer Sonny Boy Williamson was.

The songs are all traditional blues, with

early rock and roll pacing, but there is

enough variety to avoid the repetition

usually found on albums of this length,

with one artist and one genre. Sonny

Boy Williamson has proven to be a very

influential blues harmonica player, and

his stylistic interjections, and the pure

tone of his playing on both songs, and



CHAPTERS

TOM MORIARTY

Right Track Distribution

To be honest, Tom Moriarty was a complete unknown to

me before this fabulous album dropped in my lap. But I’m now a confirmed

fan of his music. With five previous releases, each built on his grizzled vocals

and acute storytelling, Moriarty has evolved from being a folk-roots picker

to a full-blown talent of a rare kind. Among his many admirers was the

late, great lyricist and globally admired musician David Crosby. This should

come as no great surprise to those familiar with Moriarty’s work. Influenced

in part by the likes of Neil Young – Crosby’s old band buddy for many years –

and the late John Martyn. This guy has a storytelling lyricism virtually inbuilt

in his musical bloodstream. Moriarty plays mostly acoustic guitar in all previous

offerings but here has branched out adding electric to his expansive

musical palette. Shades of roots, folk, rock-blues and even southern rock can

all be discovered here with no single genre pigeon-holing his evident talent

and ability. Chapters is simply an unmissable musical feast for the senses and

could be one of the finest releases of the year, in my opinion. Me, I love it.

Give it a go, you might be surprised and you certainly won’t be disappointed.

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instrumentals such as Sonny’s Rhythm

with its train whistle sounds, saxophone

like single note motifs and rollicking

good time rhythm show that a lot of

magic was being made in recording

studios in the early 1950’s.

VARIOUS ARTISTS

BRING IT ON HOME-

ACOUSTIC PICKING

ROOTS

APM Records

BEN MACNAIR

This seventeen-track album showcases

nine different UK artists playing

finger picking Acoustic Blues. This is a

wonderful and refreshing collection by

a talented group of musicians, mostly

unknown to me although hopefully this

release will allow a wider audience to

hear their music. Maybe this could be

the start of another ‘British Acoustic

Blues Boom’, following up on the mid

60’s one that included artists like Dave

Kelly and Jo-Ann Kelly, Steve Rye and

Davy Graham. Some of the songs on

the album would have been covered by

these artists. These studio recordings

were undertaken at three different

venues to save on travelling for the

artists who are spread across the

country. The constant being Producer

Mark Stratford who has done a superb

job as these songs were recorded live

and in one take. The majority of the

songs performed are covers of artists

like Memphis Minnie, Muddy Waters,

Bill Broonzy although each artist was

given a proviso for the project that they

should come to the studio with a couple

of songs that meant something to

them or were crowd favourites at their

gigs. This resulted in some great songs

being recorded, including; Key To The

Highway, John Henry, T’aint Nobody’s

Business. I cannot name all the artists

individually but from my perspective

the following were standouts; Andy

Twyman, Oli Macdonald and Holly

Carter. It is encouraging to hear these

young British artists playing the Finger

picking Country Blues style of music.

While it has never been that commercial,

this album goes a long way to

helping bring this music to the masses



and I am hopeful that this album will

trigger more interest in Acoustic Blues

going forward.

VINYL PARADISE

SELF TITLED

Independent

ADRIAN BLACKLEE

This is I believe is the band’s debut

album originally released in 2024. They

are a three-piece band based in Malta

who play a Blues/Rock style although

with plenty of rhythm. All the material

on the album is self-written and there

is a really good feel to their music on

these twelve songs. The band are led

by Ben Bailey on Vocals and Guitar,

Antoine Tonna handles the Bass, while

Patrick Camilleri does a great job on

Drums and Percussion. They have a

very British sound that conjures up

memories of bands like Nine Below

Zero. While Vinyl Paradise do not

necessarily play a straight classic Blues

sound, they build their music around a

Blues framework that flows easily and

highlights some exceptional musicianship,

particularly Ben Bailey who is an

excellent guitarist who gets a great

rhythmic tone from his instrument.

Nothing flashy, just solid playing which

accompanies his strong vocal perfectly.

The standout track for me is Like Never

Before which has some Peter Green

melodic vocal and guitar influences in

its slow build before it develops into

a scorching finale. The rhythm section

lay down a really sold foundation

throughout the song and it is one that

I put on repeat immediately. I am very

impressed with this album; the band

have worked together on all the songs

which have been well recorded, mixing

raw sounds with more polished material

creating a ‘Melting Pot’ of modern

Blues music. The band are currently

in the studio recording their follow up

album which will hopefully be completed

during 2026. I will be keeping an eye

out for it’s release as these guys have

got something about them and have

definitely put Malta on the Blues map.

ADRIAN BLACKLEE

ENERGY

RISE FROM THE FALL

Pyramid Records

The story behind this new release is one of

survival, loss and unfinished business. These songs were

not written in comfort; they were shaped by years of setbacks and hardearned

resilience. The emotional core of the record, And I’m Doing Alright,

came after guitarist and backing vocalist Wetherell suffered a brain haemorrhage,

an experience that forced him to reassess everything. As he puts

it, the ordeal stripped life back to what mattered most: friends and family.

Encouraged by his son Jamie Wetherell, now the band’s drummer, Wetherell

reunited Energy with one simple aim, to finally record the songs that

had lived so long only on stage. That quickly became something much bigger.

Drawing on material from across the years, they cut a full album, adding fresh

punch with tracks like Rock Party, a statement tune, that delivered exactly

the impact the band had always wanted. What began as a personal archive

it is the sound of old fire catching

light again

soon became a rebirth. Once the recordings were heard, the response was

immediate, and Energy were moving again. Rise From The Fall; its title taken

from a lyric reflecting the band’s own journey, is no nostalgia piece. It is a

full-blooded rock record, packed with towering hooks, widescreen choruses

and the sense of a band making up for lost time. The songs carry real weight

beyond the riffs. This Part Of Town Is A No Go, looks back to the social scars

of Margaret Thatcher’s Britain, while Fight For Freedom draws from the unrest

of 1986. The themes remain strikingly relevant, proof that the anger and

uncertainty of those years still echo now. The album’s completion was shadowed

by loss when longtime bassist Mike Bosnic died in 2023. His absence

hit hard, but the band pressed on, later bringing in Dave Nash Walker. That

determination defines the record. Rise From The Fall is not about looking

back, it is the sound of old fire catching light again.

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JOE BONAMASSA

SPIRIT OF RORY -

LIVE AT CORK

J&R Adventures

Just when you thought that Joe Bonamassa couldn’t do anything

else in the way of a tribute after the amazing Blues Summit album to honour

B. B. King, along comes another masterpiece, this time for Rory Gallagher.

He was asked by the Gallagher family to get involved, and get involved

he did. Now this would be nerve-wracking for anyone, but when you are as

dedicated to detail as Joer is, it places you under even more pressure. Add

to that, playing in Cork is an even bigger responsibility. Fear not, the whole

performance is nothing short of majestic. For any Rory Gallagher fan, this

is a must-have for your collection, with a band that contains Aongus Ralston,

Jeremy Stacey, Lachy Doley, Connor Brady, and Paul Van Kan, plus a

guest appearance by former Gallagher band member, Gerry McAvoy. The gig

opens ferociously with Cradle Rock, Bonamassa on fire from the first note.

If you like Rory Gallagher, you’ll

fall in love with this release

The whole gig seems like you are riding a freight train, song after song from

the back catalogue that saw Rory become one of the finest Blues artists to

ever see the light of day. Tattoo’d Lady took me back to when I first got a

copy of the Irish Tour vinyl. I’m still mesmerized by this song today. Calling

Card, Messin’ With The Kid, and my all-time favourite Gallagher tune, Bullfrog

Blues, take you back to remember just how talented this guy was. As a

live album, Spirit Of Rory will go down as one of the finest Live albums ever

produced. The Gallagher family wanted a tribute; they got more than they

bargained for. They got a new legacy for Rory, produced by probably the finest

Blues/Rock guitarist of this new generation. I cannot speak more highly

of this album; it is sublime. If you like Rory Gallagher, you’ll fall in love with

this release. Bravo, Joe Bonamassa and band.

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Courtesy of the BBC

LATER... WITH JOOLS

HOLLAND

ALEXANDRA PALACE

THEATRE-LONDON

5th May 2026.

I’ve had a very busy couple of

weeks at BM Towers, now this is

not unusual, but I had the offer

of an interview, and to be at the

recording of a show on the BBC

at the amazing Alexandra Palace

Theatre in London. The interview

was with Cerys Matthews, host of

the Blues Hour on Radio 2. That

led to the invitation to go to the

recording of, Later. With Jools

Holland. Everything culminated

in going to see Joe Bonamassa at

The Royal Albert Hall later in the

week.



Alexandra Palace first opened its

doors in 1873 and is London’s largest

independently owned music venue.

A grade II listed building, it oozes

character and elegance. It was such

an honour to be invited, to see how

everything works from behind the

scenes, people getting into position,

camera angles worked out, mics at

the ready, a small army of backstage

workers putting together a show

that, ever since it began, has introduced

the world to new and exciting

artists and bands, as well as tipping

the hat to more established artists.

James Blake, the Grammy and

Mercury Prize winner, has one of the

sweetest soul voices I’ve heard in

many a while. Country singer-songwriter,

Ashley McBride, performed

her song, Bottle Tells Me So. Mandy,

Indiana, with frontwoman Valentine

Caulfield performing in her native

French language. Sekou, a 21-yearold

artist from Leicestershire, made

his debut on the show three years

ago. Another truly wonderful soul

artist with bags of energy as he sang

his latest singles, Dangerous Lover,

and Catching Bodies.

As well as introducing the artist,

Jools Holland chatted with Jocelyn

Brown. Originally from North Carolina,

she has lived in London for many

years. Her accomplishments include

working with the likes of Luther Vandross,

Diana Ross, Boy George, and

Bette Midler. Her song, Somebody

Else’s Guy, released in 1997, has been

recorded by many other artists. Her

chat with Jools was very interesting,

capped with both of them duetting

on Sam Cooke’s A Change Is Gonna

Come. It felt like a privilege to be in

the same room as her, such is her

demeanour.

Joe Bonamassa performed two

songs, the title track of his latest

album, Breakthrough, and then a

storming rendition of the BB King

classic, Never Make Your Move Too

Soon. He also joined Jolls at the piano

for a chat where he revealed that he’s

probably got enough guitars now,

never say never, Joe, and also about

his passion for owning and driving

classic cars, another very expensive

hobby.

This had been a wonderfully new experience

for me, a behind-the-scenes

peek at one of the best music shows

that has been available for the past

two decades. I would like to thank

Sarah Hall for looking after us so well

during the evening, and to everyone

else connected to the BBC for their

help in the interview with Cerys, and

Later, with Jools Holland.

STEPHEN HARRISON


IBBA TOP 40

INDEPENDENT BLUES

BROADCASTERS ASSOCIATION

bluesbroadcasters.co.uk

The Illustrated Blues Of Brian Kramer

BIG BOSS MAN

Jimmy Reed, the shuffle king! Hit maker of

the timeless Blues standards; Bright Lights

Big City,

Baby What You Want Me to Do, Honest I

Do, Big Boss Man any many, many more!

This sounds like a promotion ad for the

next big thing, but it’s simply the truth

and a staple diet for those of us who have

studied and performed these tunes as part

of our eternal set list.

A superstar of the Blues in the 50’s producing

hit after hit covered by every major

artist from Elvis to the Stones to Clapton,

Van Morrison, The Dead, Dylan.

Hey, even Bill Cosby released

an album in 1967 singing a

number of Jimmy Reed

tunes (there’s a bad joke in

there somewhere…).

This is just a little nod of appreciation to

Jimmy with my illustrated tribute. I’ve

done a few but here’s the latest.

My personal fave? Well, I am an East Coast

City boy so “Going To New York” is right up

there.

“Even if I have to walk…”

Jackie Dorsey

ISSUE 162 BLUES MATTERS!

91

Issue 162 June 2026

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