Conceived by Joe and producer Kevin Shirley the idea was simple; An entirely acoustic show backed by four performers from different musical and geographical backgrounds. All playing an arsenal of wildly diverse ethnic instruments. With a debut concert at the Montreaux Jazz Festival successfully negotiated, followed by a further two weeks touring, Joe and his troops arrived at the Vienna Opera House in fine form, ready to grace the same stage that once hosted Mozart, Beethoven and Schubert. They duly delivered a night to remember.
In light of this splendid performance it's hard to believe Bonamassa doubted his ability on the acoustic guitar, telling Classic Rock scribe Henry Yates it was “like Kryptonite to him”. As 'Palm Trees, Helicopters And Gasoline' takes flight it seems like false modesty, with Joey B cooking up an unplugged orchestral storm, sat on a chair with a crescent shape of differently tuned and strung acoustic guitars surrounding him. He doesn't put a finger wrong all night, knocking out crisply articulated solos on the likes of levee bursting stomp 'High Water Everywhere' and accordion infused 'Jockey Full Of Bourbon', whose slick flamenco burst and lyrical phrasing meets with huge cheers. His rhythmic work isn't too shabby either, with the chuffing groove of 'Slow Train' pumping it's pistons to full effect, accompanied by the searing choo choo of Gerry O'Connor's wailing fiddle.
This concert really highlights how Joe's six string prowess overshadows his other attributes. Without the trademark Les Paul cranking out show stealing solos the songs exhibit just how well written they are, both lyrically and melodically. 'Driving Towards The Daylight' being a case in point, given a spine tingling countrified makeover as a delicate banjo and mournful fiddle embellish Joe's reflective journey from heartbreak to salvation. His voice is also impressively to the fore, reminding us what a soulful, powerful and underrated singer he is. On a delicate Sloe Gin with just a glockenspiel for company, Joe's emotive vocal reveals hidden depths, making the disconsolate fireside confessional more heartbreaking than ever. This is Bonamassa as musically naked as it gets.
It's great to hear songs that don't usually get a live outing. Rarities include the rollicking tumble of 'Jelly Roll' as O'Connor's sprightly blue grass banjo interweaves and mirrors Joe's playing with clipping skipping fizz. Moreover, 'Black Lung Heartache' is exceptional, with the pirouetting pixie rhythm conjured by Mats Wester's Nyckelharper making it sound even more like the best song Jimmy Page never wrote for 'Led Zepplin III'. For all the deserved plaudits, Joe will be the first to point out this isn't a one man show. The four characters backing him create a sumptuous smorgasbord of rhythms and textures that embellish the songs and give them an authentic, timeless feel. On 'Athens To Athens' an extended freestyle jam see them sparkle, Joe calling out their names one at a time for some nifty impromptu soloing. It's a joyful celebration of music as the universal language.
For all the invention, no song is given the radical reinvention of Clapton's unplugged 'Layla'. Hearing the odd tune played in a completely different style would have been nice. Also, aside from the odd few lines Joe doesn't talk enough between songs. It's something that's been levelled at him before and is slightly mystifying. Anyone who has heard his radio show knows what an insightful, interesting raconteur he is. It's a shame he doesn't bring that Bonamassa on stage more as some stories about the songs would have been fitting.
Available in two formats, the visual stimuli of witnessing gifted players perform and interact gives the DVD the edge. There's also a bonus disc featuring two excellent documentaries. The first being a riveting look at how the whole shebang came together, whilst the second finds the whole gang individually discussing the project for just shy of 40 minutes. That might sound like hard work, but it's thoroughly engaging as they reveal the challenge of bringing their disparate styles together, blending the different modes and scales and adjusting their sensibilities to fit the group. It's also great to hear the players enthuse about the history of their instruments, with the good ol' Nickelharper apparently dating back to the middle ages!
It may take a few spins to adjust to Bonamassa Unplugged, but once your ear adapts you'll discover a new kind of JB, one who has almost been lurking in the shadows and is exceptionally underrated: Joe Bonamassa; singer and songwriter. With popularity may come increased scrutiny and criticism, but on the evidence of yet another triumphant release Joe will have the last laugh. So beg, borrow or steal to own both the CD and DVD. And if that means getting arrested; totally worth it!
'An Acoustic Evening At The Vienna Opera House' is availble now. Joe will return to the UK later this year for an arena tour.
Wed September 18th 2013 - Motorpoint Arena, Cardiff, Cardiff
Fri September 20th 2013 - Bournemouth International Centre, Bournemouth
Sat September 21st 2013 - Manchester Arena, Manchester
Mon September 23rd 2013 - AECC, Aberdeen
Tue September 24th 2013 - Playhouse Theatre, Edinburgh, Edinburgh
Fri September 27th 2013 - National Indoor Arena, Birmingham
Sat September 28th 2013 - The Brighton Centre, Brighton
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Conceived by Joe and producer Kevin Shirley the idea was simple; An entirely acoustic show backed by four performers from different musical and geographical backgrounds. All playing an arsenal of wildly diverse ethnic instruments. With a debut concert at the Montreaux Jazz Festival successfully negotiated, followed by a further two weeks touring, Joe and his troops arrived at the Vienna Opera House in fine form, ready to grace the same stage that once hosted Mozart, Beethoven and Schubert. They duly delivered a night to remember.
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