It’s fair to say that this isn’t really my manor. Yeah, I love The Railway Hotel in Southend for many reasons, the first being the wonderful bunch of people who choose to drink there. It’s an old-fashioned boozer that has successfully resisted any vogueish makeovers and remains a pub for people that like pubs (oh, and music, definitely music). It’s the kind of place where musicians, artists and poets (and the occasional photographer) meet up to drink, politely and non-judgementally discuss each other’s work and the work of others and drink and then drink some more. I may have fabricated a piece of that last sentence; you decide which bit.

The reason for this trek out to Southend-on-Sea was the launch of books by Ralph Dartford and Phil Burdett and live performances by each of the authors. The last time I saw a live poetry event was nearly four years ago when Dr John Cooper Clarke supported Squeeze in Greenwich, which sets the bar fairly high. No worries on that score; Phil Burdett and Ralph Dartford had the goods and were ready to deliver.

Ralph Dartford

It’s no secret that both of these artists have had their demons and maybe still do; that’s where the authenticity shone out in both sets. Ralph Dartford opened reading selections from his current volume “Recovery Songs” packed with pathos, humour and stark social realism (“Addict” set the tone for Ralph’s performance) joined up by a seamless narrative which demonstrated some superb comic timing. The audience was Phil’s home crowd, but they were attentive and hugely appreciative during Ralph’s set. I recommend the book and you can get it here .

Phil Burdett

And the it was time for Phil Burdett, on a long and unpredictable journey from some very dark places indeed, to premiere his book of prose and poetry “Rhyming Vodka with Kafka”. Never one for convention, Phil delivered a mixture of readings from the book punctuated by songs old and new with support from fellow Southend legend Steve Stott on mandolin and fiddle (I’m not going to ask what happened to the banjo). For a first attempt at this format Phil nailed it, with the audience enthralled by the material and the delivery, pin-drop silent during the readings and wildly appreciative at the conclusions, particularly “The Bad Pub Guide” and “Dogs Accustomed to Loud Music”. Maybe a prophet can have honour in his own country.

Steve Stott

Bottom line – I loved both performances; the audience loved both performances. I bought both books; a lot of the audience bought both books. It’s a long time since I’ve seen an entire audience so totally immersed in a performance. Thank you Ralph Dartford and Phil Burdett for making me realise that I need more poetry in my life.

 

I guess this is one that was inevitable; a live album that was recorded almost by accident, just because they could, and what an interesting piece of work it is. Unusually, this didn’t grab the attention at the first listen and it wasn’t a grower. On about the fourth listen, the power of the lyrics suddenly hit home and everything started to fit together. Sam Baker’s songs are self-contained stories, told with perfect economy; there isn’t a superfluous word as he tells us about the kind of people we’re all surrounded by, whether we know it or not; the single mothers, the alcoholics, the drug addicts, the widows and the guilt-ridden all doing their best to make it through another day. It’s the life of a small Texas town told in twelve small but perfectly-formed chapters.

The delivery as a live performance matches up perfectly with the stark subject matter. Sam Baker relates the tales in a sung-spoken style that has hints of Tom Waits and an interesting minimalist picked electric guitar style (more about that later), plus a wooden block to tap out the tempo with a foot. It works perfectly because the stark arrangement focusses all the attention on the power of Sam’s writing and the stories of despair and injustice but, ultimately, hope.

Back to that thing about the guitar style. After surviving a terrorist bombing of a train in Peru, which nearly ended his life, Sam’s long and painful recovery eventually led to using his music as a therapy, which included learning to play an upside-down guitar to adjust to the loss of a large part of his left hand. The playing style he’s developed strips all of the arrangements back to basics, shining a spotlight on the beating, bleeding heart of each of the songs.

Highlights? “Mennonite” is a poignant story of an unlikely relationship and forms the centrepiece of the album, “Boxes” is a heart-rending tale of a Vietnam widow and “Odessa” deals with the tragic fallout from a spoilt, entitled upbringing. Seriously though, it’s all good and you get the chance to hear it live in the UK early next year.

“Horses and Stars” is released in the UK on Friday August 23rd.

Buford Pope’s American influences shine through on “The Waiting Game”. His introduction to American music was Bob Dylan but the most obvious comparison vocally is the high register vocals of Neil Young. There’s a reference in the album’s second song, “Hey Hey Aha”, to the difficulties of songwriting (and a subtle nod to Shakey again) and writer’s block, but the songs all worked out fine in the end and the calling card for “The Waiting Game” is the way they have been arranged. And that’s apparent from the very start. 

America” (a lyrical co-write with Mark Drake) is the collaboration that Neil Young and The Blue Nile haven’t quite got round to yet. It’s an atmospheric love song to America with a big bassline and a new frontier theme with songsters replacing pioneers. The high tenor range of the voice, the melancholy subject matter and the country-rock feel of “Hard Life” make vocal comparisons with Don Henley difficult to avoid, but it’s difficult to see how that’s a bad thing. I mentioned arrangements earlier and the most innovative has to be “A Hundred”. 

The minimalist production is built around a bass drum on one and three and a layered handclap on two and four which repeats remorselessly throughout the song as the blues builds up with the addition of bass and banjo. It hints at the foot stamps of Brian May’s percussion innovation for “We Will Rock You” (a reference you might not expect to hear on an Americana album). Incidentally, a country, honky-tonk reworking of the song, listed as “Ninety-Nine” closes out the album. 

It’s the kind of album that you get when an someone without the baggage of a ‘scene’ or ‘movement’ to contend with (living in a remote part of Sweden) can concoct by taking original American influences and subject matter and melding them with elements from outside this genre to produce something that’s unique. It’s an intriguing listen. 

“The Waiting Game” is out now.

Well, that was all a bit intense; four nights of gigs spread across North and West London (and those are just the ones I opted for – there were plenty of other great gigs across the capital, but you can only be in one place at a time). With so much on offer, the choices weren’t easy, but I witnessed four cracking gigs, all headlined by bona fide legends and with some astonishing up-and-coming support acts. And it’s the only festival I’ve done where I could get a decent shower and sleep in a comfortable bed. 

 

Mavis Staples & Stone Foundation @Roundhouse 04/07/19 

This was all about the songs (and Mavis Staples’ incredible voice). No long solos; just deliver the song and the message and move on to the next one. Stone Foundation delivered a powerful support set for Mavis, for the second time in three days and demonstrated why the are the new soul vision. All the elements fit, the songs are strong and the horns and Hammond are the perfect icing on the cake. The finale of “Tear Your Playhouse Down” leaves the crowd elated and ready for the main event. 

Mavis Staples is almost the same age as my mum (Happy Birthday for Wednesday, Mavis). The passion for the music is undimmed and the voice is still a force of nature. The audience would happily listen to the classics (who wouldn’t want to hear “Slippery People”, “For What It’s Worth” and “Respect Yourself”), but Mavis also has a new album out at the moment and the title song “We Get By” fits seamlessly in as the set draws to a close. By the end you’re left in no doubt; you have been in the presence of a legend. You have been Mavised.

Mavis Staples

 

Maceo Parker, Down to the Bone and Jen Kearney @Roundhouse 05/07/19 

If Thursday was all about the songs and the singers, Friday at Roundhouse was about two things; virtuoso playing and, most importantly, the FUNK. All three sets combined jazz and funk in various proportions with a few other elements thrown in. Jen Kearney opened with a short but powerful set with Latin overtones and hints of Steely Dan at times. Superb instrumental performances from the whole band and powerful vocals from Jen herself. Definitely one to watch. And then Down to the Bone ramped up the atmosphere before the headliner with a set of jazz-funk instrumentals with hints of New York and Cuba and nods towards the Average White Band, Nuyorican Soul and maybe very early Chicago. Great fun and fabulous musicianship. 

Then came Maceo. Coming onstage to “1999”, it was obvious that this wasn’t just about musicianship; this was a show. The playing was superb, but Maceo likes to perform as a bandleader, and why not? There was plenty of humour, with a little piano/alto jazz duet on “Satin Doll” to establish whether it was a jazz or funk audience (resoundingly funk, if you needed to know) and a trombone/keys duet on “My One and Only Love”, but it was the funk that was well and truly slam-dunked with a glorious cover of Marvin Gaye’s “Let’s Get it On” featuring a cameo Maceo vocal towards the end. And that was the sound of another legend winning over the Innervisions crowd. 

Maceo Parker

 

Janet Kay & Carroll Thompson with Hannah Francis @Under the Bridge 06/07/19 

Hannah Francis has a fabulous voice, no doubt about it, but, as a showcase for new talent, you have to wonder why she only had two songs with backing tracks and no live musicians. Whose decision, I don’t know, but I don’t think it did anyone any favours. And that’s the negativity out of the way.  Lovers Rock is by definition a nostalgia thing and the people who get nostalgic about it are really enthusiastic and knowledgeable. And friendly. It was the most relaxed and amiable of all the audiences over the weekend; everyone was there to have a good time. 

Janet Kay and Carroll Thompson are known as the two queens of Lovers Rock; they’ve been doing this for years and they’re incredibly good at what they do. They duet and then they alternate short three/four song sets of their classic songs. The difference this time is that they both have covers albums out at the moment so we’re treated to Carroll covering “Make it With You”, “Where Do Broken Hearts Go?” and “Take Another Little Piece of my Heart”, while Janet covers “Betcha By Golly Wow” and “Wishing On a Star”. The audience is young and old, male and female and multi-ethnic and everyone’s just vibing on the tunes. It’s a perfect demonstration in West London of how we can all live together. 

Carroll Thompson

 

Gilberto Gil & Caravela @Shepherd’s Bush Empire 07/07/19 

The final night of Innervisions has me visiting what used to be the BBC Television Theatre in The Bush. Apart from a strange domestic at the bar, this is the most laid-back of all the gigs. It must be a Latin American thing. The music has never been my field of expertise, but it’s always had the feelgood factor and interesting rhythms and, like all of the headliners, Gilberto Gil is a legend in the spheres of music and politics. 

The night opened with Caravela, fronted by singer Ines Loubet and with a lineup of guitar, keys, bass, drums and percussion. They wowed the Empire crowd (it may have been a bit partisan) with their superb musicianship and Latin polyrhythms topped off by Ines’ powerhouse vocals. Even a non-dancer like me found the rhythms irresistible. And then it was Gilberto Gil time. 

The semi-circular backline looked like a set-up for a cast of thousands (or eight or nine multi-instrumentalists and backing vocalists) with Gilberto seated front and centre with an acoustic guitar for the opening three songs, which were all new and ebbed and flowed through stylistic and personnel changes as Gilberto worked solo, played duets and did full band arrangements, before changing up to electric and getting to his feet. However deficient your dancing feet may be, you can’t resist the seductive rhythms that will have you tapping your feet and your fingers and singing along to the wonderful melodies. Another legend whose reputation is well-earned. 

Gilberto Gil

 

And that was it for Innervisions 2019. Can’t wait for 2020. 

This album should display a warning sticker. Not the PMRC nonsense; it should be a health warning, with the wording ‘Danger – Earworm Infestation’. It’s a couple of days since I last heard “Great Divides” and I’m still trying to disentangle the musical and verbal hooks from my consciousness but it’s a bit like “Whack a Mole”; everyone time you knock one on the head, another pops up. This is going to take a while and, by the time I succeed, I’ll be defeated again when I go to see them play live.

The guys in Massy Ferguson will self-deprecatingly refer to themselves as a bar band but, hey, so does my favourite band ever. To me that description is synonymous with superb musicianship, a huge repertoire and an ability to read and entertain an audience and I’ll go for that any day of the week. Throw in some great songs and you’ve got the finished article.

And how about those songs? They divide quite neatly into the abstract imagery of the riff-driven “Drop an Atom Bomb” and the straight-ahead autobiographical narrative of “Momma’s in the Backseat”; they’re all powerful lyrically and the musical settings pull out all of the songs’ nuances. “Maybe the Gods” (a duo vocal with Adra Boo) is driven along by a guitar line that evokes the much-missed Stuart Adamson, while “Saying You Were There” is more contemplative with a haunting refrain of ‘Passengers on the left’. You can hear many influences in the songs, some have a very Seattle edge with power chords and booming floor toms while there are country influences and a bit of mainstream rock in there as well; whatever else is going on, there are memorable melodies and hummable hooks.

“Great Divides” is a very rounded, complete album with songs reflecting the maturity that age and experience bring while still sounding lean and hungry and very rock ‘n’ roll. And I just have to say that Ethan Anderson sounds unbelievably like Jackson Browne at times; and I’m not complaining about that.

“Great Divides” is released in the UK on Friday June 7th on North and Left (NL001) and the band will be touring the UK throughout June.

It gets kind of personal here. I first heard of Michael McDermott in 2016, just before the release of “Six on the Out”. I was at a bit of a professional low point and I was blown away by the searing honesty of Michael’s songs. And where do you go from a low point? Well, obviously, it’s upwards and I’m pleased to be moving in the same direction as Michael McDermott. And that album as The Westies wasn’t Michael’s only release that year; he released the more contemplative solo piece “Willow Springs” a couple of months later. I’ve been passionate about music for a long time now and I don’t think I’ve ever heard two albums from one artist that were so complete released within two months of each other.

Three years on, Michael McDermott’s creative flame still burns magnesium-bright; the proof is in “Orphans”, Michael’s latest album. Songwriters don’t like to let anything go to waste, and this is a bunch of songs that didn’t quite fit on “Six on the Out”, “Willow Springs” or the equally-superb “Out from Under”. Doesn’t mean they’re not good songs; Southside Johnny’s first three albums, “I Don’t to Go Home”, “This Time It’s for Real” and “Hearts of Stone” are laced with stunningly-good Springsteen songs that wouldn’t have worked on “Born to Run” or “Badlands”. And I’ll seriously fall out with anyone who says that “The Fever”, “Talk to Me” and “Hearts of Stone” aren’t classic examples of the songwriter’s art.

But back to Michael McDermott (although The Boss isn’t an inappropriate reference to throw in here); the songs on “Orphans” are the niggling doubts; those songs that just wouldn’t let go, even after the albums were out there. These songs are seeing the light of day because they deserve to, and because they complete the picture painted by “Six on the Out”, “Willow Springs” and “Out from Under”.

“Orphans” pulls in elements from all three of those albums. These aren’t out-takes; these are great songs that refused to die. The album opens with “Tell Tale Heart”, a song that, in one line, made me question my orthodox view of British socio-political history; that’s not a bad start to an album. Of the remaining eleven songs, there isn’t a bad one and “Sometimes When it Rains in Memphis”,Full Moon Goodbye” and “Los Angeles a Lifetime Ago” would grace any album. And these are the songs that didn’t make the original cut.

“Orphans” is the missing piece in the jigsaw of the three previous albums, completing the journey from success through degradation to redemption and it’s absolutely essential. It’s out now on Pauper Sky Records and Michael will be in London in early May to launch the album. In the meantime, just have a look at this:

 

Bedford to Nashville; it’s over four thousand miles, but Danni Nicholls somehow manages to connect the two in a way that’s totally convincing and authentic, so let me just say from the start that “The Melted Morning” is an assured, warm and satisfying piece of work. There are lyrical references on the album that relate to both sides of the pond. Sitting happily side by side on the album are “Unwanted”, with its scene-setting American speed limits and vocal that evokes Rosanne Cash, and “Wish I Were Alone” with its London Road reference. And it helps that Danni has a rich and versatile voice that’s equally at home with country or soul stylings.

Danni’s a songwriter who enjoys the process of collaboration with other writers, and there are quite a few of those involved in this project, including Ben Glover, Robby Hecht, Jess Morgan and Amelia White. It’s something that works well, but I’ll come back to that later. The other interesting aspect of this album is that Danni chose to put it together with a predominantly female team for some very good socio-political reasons but also because ‘they were the absolute right people to help bring these songs to life’.

Whether it’s that collaborative dynamic or just that the structure of the songs leads to certain arrangements and stylings, the songs develop and unfold at a leisurely pace (only two songs clock in at under four minutes); nothing feels rushed, the songs are allowed to breathe and it’s not about individual egos. It’s all about the songs, and what beautiful songs they are. Danni and her collaborators spin intriguing tales of unconventional relationships, unrealised ambition and sometimes even just some straightforward, unvarnished love songs. “Hear Your Voice” and “Power to Leave” feel like a matched pair with slightly different takes on the business of success as a musician, while the latter has a soul feel and some gorgeous Latin horns pushing the arrangement along.

And that thing I was coming back to. The album’s packed with collaborations but the songs that really push my buttons are Danni’s solo writes. “Lemonade” is another twist on ‘when life gives you lemons…’, while “Ancient Embers” and “Hopeless Romantic” are both intensely personal. I understand the logic of closing the album with “Hopeless Romantic”; it’s a perfect summation of a beautiful piece of work. Buy the vinyl, stick it on your deck and just let it wash over you; you’ll feel so much better.

“The Melted Morning” is released on Friday April 12th on Danni Nicholls Music (DNM002).

“River of Light” is one of those albums that constantly surprises; you never know what’s coming next. It might be a nice understated guitar fill or it might be a lyric that stops you in your tracks with its brutal honesty and intensity. More about that later, but let’s just get this out of the way now; Kristina isn’t a singer’s singer. She uses her voice very effectively as one of the instruments in the mix, but it is another instrument, not a focal point. She creates varied and interesting sounds and examples are dotted throughout the album of her use of studio techniques picked up from her career as a sound engineer.

Where Kristina really excels is in creating enthralling soundscapes where every element is important. And while we’re talking about the elements, just have a look at the talented musicians she’s pulled together for this project: MusicRiot favourite Steve Mayone and Val McCallum (guitar player with Jackson Browne) for a start. The soundscapes move from the resolutely lo-fi twelve-bar country blues of a “I Like a Hard-Hearted Man” through the string band and guitar atmospherics of “Walking These Ridges” (with a bit of accordion thrown in for good measure) to the album’s closing piece, the instrumental “Godspeed”, which is cinematic with clusters of echoing piano triads and an acoustic guitar melody. It would fit perfectly on a Sigur Ros album.

Did I mention the lyrical themes? No, not yet, let’s pick out a couple of examples. “Waging Peace” (once you get past the “waging war” reference) is a post-apocalyptic vision of Albert Einstein’s Fourth World War being fought with sticks and stones. “Caught by the Heart” is a terrifying vision of domestic violence that repeated listening just won’t soften; it’s harsh and brutal, no punches are pulled and you can’t ignore the impact.

I’m just going to add that Kristina is hugely inspired by Jackson Browne; that’s a recommendation for me any time.

“River of Light” is released in the UK on Thunder Ridge Records (TRR025) on April 5th 2019.

This is an opportunity that doesn’t come along too often these days – an interview with one of my favourite singers and someone who happens to front one of the best bands I’ve ever seen; a bunch of superb individuals who make a formidable team. Southside Johnny and the Asbury Jukes were on a lightning tour of Europe that included a night at Shepherd’s Bush Empire. Too good to miss, really, so I took a little trip out to Wild West London. Here’s how it went…

 Allan

It’s great to see you again, what are you up to these days?

Southside

Well, we have a lot of work this year. I mentioned the word retirement and they immediately booked a thousand gigs. We’re trying to write another Jukes album but it’s been going slowly, so really it’s just been touring and trying to write the album and that’s about it. There’s not much else going on.

Allan

On this tour you had a free day in London yesterday. Did you manage to have a look around?

Southside

I walked all round Shepherd’s Bush and around the mall and I wanted to go to the British Museum but I didn’t get it together to do that, but this is a great walking area. I like this place; it’s a little funky in some areas but that’s good for me. I just love walking around London, all the different areas. It still feels like I’m somewhere other New Jersey. Even after all these years and all these times, I still feel glad to be here.

Allan

I’ve lived here fifteen years now and the city’s changed so much in that time.

Southside

It’s impossibly expensive to rent here. Occasionally I think, maybe I’ll go over there for a while, but you’ve got all the Russians and Saudi Arabians that are buying up all the properties. There are people who have lived here for a long time and they’re all right, but if you’re trying to buy a house, you’re out of luck.

Allan

You’ve done Wales and Scotland on this tour as well.

Southside

Yes, we played Cardiff and we played Glasgow. I always like playing Glasgow because the audiences are down-home, very New Jersey, if you know what I mean. They’re very enthusiastic and it matters to them. There’s no pretence about loving the music, it’s just really honest ‘get out and have a good time’ people.

Allan

I think South Wales is a lot like that as well.

Southside

We’ve played a few places in Wales, but not enough for me to really know it. I’ve played a lot of places in Scotland many, many times and I’ve got to know a number of people up there and they’re very authentic people. I really like that.

Allan

I think Jukes fans are like that generally.

Southside

That’s true. We play New York and people drop in to slum it with The Jukes and I don’t really care for that kind of thing. Our audience is like us; there’s no pretension about it.

Allan

And at Holmfirth, you actually had to add a second show this year.

Southside

Yep, Holmfirth is one of our favourite places to play. When we first played there, we got lost. We were driving through fields; the GPS on the bus was completely screwed up and we ended up going through a farmer’s field and thinking ‘Where the hell are we?’

Then we got there and it’s a small town, very picturesque and I thought ‘This is going to be terrible’ and it was great.

The people were just so over-the-top and the place sounded good and there was a snooker table in the dressing room. It was just one of our really fantastic nights and we had a great show, so we always look forward to coming back because they’re always good shows, so everybody’s excited about it.

Allan

And I think this year’s the twenty-first of the venue re-opening as a cinema and music venue, so they may be commemorating that.

Southside

Twenty-one years, huh? I wonder how many times have we’ve played there?

Allan

I saw you there in 2010, I think.

Southside

I think that’s when we started playing it, maybe a little earlier.

Allan

The last time I was in Holmfirth was in October last year to see Graham Parker with his new band The Goldtops, featuring some of the horn players from The Rumour and it felt like a throwback to that period in the late seventies when there was so much great music, and it was strange to see that Steve Gibbons, also from that era, had been added to tonight’s bill.

Southside

(Laughs) I didn’t know that. I just saw now that he was on the bill – that’s great.

Allan

And seeing Graham Parker made me think about the legendary tour that you did together in 1977.

Southside

That was great. What fun that was. Both bands were in the same bus; a lot of poker playing, a lot of talking, a lot of beer-drinking. And it was a competition every night; who’s gonna kick whose ass on that night. We really made some long-time friends on that tour. To us it was great because we saw all these towns you wouldn’t usually see. We played everywhere and all the nice theatres like this place. So for us, a bar band, it was an amazing tour. It really felt as though we were getting somewhere.

Allan

And also, going back to that era, Squeeze are just about to do another tour of the States.

Southside

That’s great, love them too. That was a great time for music. When you think about it, I liked all the punk stuff too. The Sex Pistols came to one gig with Ronnie Spector and the guys from The Damned were at The Nashville Club. Rat Scabies and I almost got in to a fight. It was one of those wonderful times.

Allan

I can remember in a history of punk I was reading (“’77 Sulphate Strip” by Barry Cain), I saw a photo of you and Graham at The Nashvillle.

Southside

Yeah, we were part of that era, but we weren’t ever punk. They welcomed us and we met the Stranglers, Eddie and the Hot Rods and all those other guys. We knew Thin Lizzy, those guys came to our gigs; we used to go out drinking and there were nights you couldn’t remember coming home to the hotel.

Allan

Is there any new music that you’re listening these days?

Southside

I’m still listening to a lot older stuff too, but there’s such a lot out there.

Allan

The reason I ask that is that I hear a lot of new Americana, people like Ed Dupas and Gerry Spehar. Some of it isn’t well-known and might never be, but what I really notice is the political stuff that’s coming to the fore now as the election of Trump seems to have politicised everyone.

Southside

Yeah, you can’t get away from it and you’re almost forced to take sides because the egregiousness just overwhelms you; the stupidity and the greed and the complete lack of compassion for anyone except for rich people. And even then, the people that are in the White House now don’t have feelings for anyone but themselves, from top to bottom, and it’s frightening, you know.

It’s going to swing back the other way now, once Trump has gone, whenever and however that’s gonna happen. I saw Jason Isbell at the Ryman Auditorium in Nashville and he was just fantastic, but he’s become more political too. The album that I really like, “Something More than Free” is very personal and human and real-life oriented, but I know that his latest stuff is becoming more and more political because you’re forced into it. You’ve got to speak up about it.

Allan

Getting back to the music, this incarnation of The Jukes is probably the most stable ever.

Southside

Yes, it’s been solid for a long time; I don’t count the years. It’s also the best band I think I’ve ever had because they’re all just all just great soloists but the ensemble work, there’s no selfishness if you know what I mean. I don’t know, I‘m just really enjoying this band; I can throw any kind of curve ball at them and they hit it, so I can do whatever I want on stage, we do some strange stuff, and they seem to follow very well and it’s not just ‘ok, now what you gonna do dummy?’.

Allan

Well that’s the question that I deliberately wasn’t asking…

Southside

Well, I think they are. With Tommy (Seguso) on drums now and John’s the best bass player I think we’ve ever had. Jeff’s an incredible keyboard player. All of the guys, the horn section, they carry a lot of weight and they handle it very well. It’s got so that I can relax and not worry about what’s going on behind me. I always like that feeling of being free on stage to do and say whatever I want and with this band, I’m very comfortable with that.

Allan

I always thought the danger was, with a band that good, there’s a chance that it can be like eight quarterbacks on stage.

Southside

(Laughs) No, they’re very good that way, there’s a certain ethos in being a Juke in that you’re working hard to please the audience, but you’re also trying to find new ways to play things and different ways to express yourself and, with this quality of musicianship, you can do that and you can let people go wherever they want to go and they let me go wherever I want to go. When it becomes rote, when it becomes just going through the songs, I’m out. That’s like working in a cubicle for an insurance company, I just don’t want that.

Allan

And the Jukes fans love that attitude as well, don’t they?

Southside

They like it when we take chances, and if we fall on our face, they laugh. And we do too.

Allan

How does the music business, or what’s left of it feel to you these days? Do you find it easier to work the way you’re working now?

Southside

Oh yeah, I’m not part of the music business. I own my own label. It’s all organic for me; I don’t have to worry about pleasing anybody other than the audience and so if I want to put out an album, I’ll put out an album, like we did the Billie Holiday thing or The Poor Fools. I can do whatever I want, I don’t have to please anybody but myself as far as the organisation’s concerned. So I don’t even think about record companies. To me they’re manufacturing artists. Some of them are good, some of them are terrible and phoney and awful but it’s all down to one or two acts; you don’t have record companies with fifty acts that they’re trying to make a career with; it’s either blockbusters or ignore it.

Allan

I’ve noticed that at Jukes gigs and with other bands doing similar things, younger fans are appearing.

Southside

Yeah, the fans are bringing their kids and their grand-kids, but that’s all right. We’re fun on stage, I think everybody gets that even when it’s not the kind of music a younger person is used to, but with rhythm ‘n’ blues and soul being so popular again these last five or six years, it’s interesting to see them coming and they understand what we’re doing, and there were a few years where I don’t think young people would have got what we were doing.

Allan

And you can see it coming through in bands like Hardwicke Circus, who supported you two years ago. They’re kind of modelled on that Jukes ethos, aren’t they?

Southside

Well, there’s a lot of bands like that out there. There’s a lot of soul singers out there and it’s great to see. The only thing I don’t like is manufactured music and I never have really enjoyed that. But if that’s what people like, that’s fine; I don’t judge people that way.

Allan

Well, thanks for your time and I’m looking forward to the show tonight.

The Southside Johnny gig Commandments; they’re important, and you should always abide by them.

1st Commandment – Watch the support band. In my experience of, ahem, one or two Southside gigs, the support is always worth watching and Curse of Lono had been on my radar for a few years. Most of the audience followed the 1st Commandment and made the early start to catch Curse of Lono doing their second Southside support tour.

2nd Commandment – To reinforce the 1st Commandment, the support band(s) always get the same level of sound and lighting support as the Jukes.

3rd Commandment – Get to the venue early. You have been paying attention, haven’t you? The support band(s) are going to look and sound great. Trust me. Curse of Lono played at a ridiculously early time but a bunch of powerful songs (“Valentine” was a standout) delivered by a locked-in rhythm section (Neil Findlay and Charis Anderson) while Felix Bechtolsheimer’s vocals were underlined by Joe Hazell’s creative guitar lines and the keys of Dani Ruiz Hernandez. It’s a big sound it’s hugely appreciated by the gathering crowd. That’s another band on my ‘to watch’ list. Which leads me to…

4th Commandment – Show your appreciation for the support band(s). Jukes followers are fiercely loyal, but they’re music fans and if a band is good and gives it a bit of wellie, they’ll get right behind them. Which meant a great reception for Curse of Lono.

5th Commandment – Expect the unexpected. Bear with me while I digress. 42 years ago I saw the first incarnation of the Steve Gibbons Band touring on the back of their Top 10 hit “Tulane”. I was a fan. I got the band to autograph the lyric sheet of my copy of “Any Road Up”. I discovered Steve Gibbons at about the same time I discovered Southside Johnny. And the unexpected bit? Two days before the gig I discovered that the latest incarnation of SGB had been added to the bill for the Empire show. Which, added to the fact that ‘Our Man Oop North’, Steve Jenner, had reviewed a Steve Gibbons gig in Leek for us a few weeks ago, added an extra layer of weirdness.

The band played in the way that you would expect professional musicians with a few miles on the clock to play. They were tight and assured, allowing Steve Gibbons to get on with what he does best. And he’s still got the voice; the man is his seventies and he can still do it on the big stage. It was a relatively short set featuring original material, covers of rock ‘n’ roll classics and, of course, some Bob Dylan. It was a bit of a strange experience hearing “Watching the River Flow” covered in the same style I’d heard it covered 42 years earlier. And then it’s time for Jukesville.

6th Commandment – Ignore the setlist. It’s a standing joke with band and fans. The only reason it’s there is to give the fans at the front a chance to gamble on how far the band get down the list before taking the scenic route (usually two or three songs, if you ever want to place that particular bet).

7th Commandment – Prepare to be entertained. This is a phenomenal bunch of musicians. They deserve to be namechecked individually. The Asbury Jukes are: Tom Seguso (drums), John Conte (bass), Jeff Kazee (keys), Glenn Alexander (guitar), Chris Anderson (trumpet), Neal Pawley (trombone), John Isley (sax) and Southside Johnny. And let’s not forget Joe Prinzo and Hood who hold it all together. I haven’t mentioned vocals because they all can, and do, sing. Check out the harmonies on “Walk Away Renee”.

8th Commandment – Show your appreciation. These guys are seriously good players. As an ensemble they build a solid platform for Southside to deliver his honey-over-gravel vocal, but everyone gets at least one solo during the set and Jukes fans show their appreciation of the solos in the same way the audience in a jazz club would. And it’s always well-deserved.

9th Commandment – Expect the unexpected (I know, but it’s worth repeating). The band doesn’t know what’s coming next, so why would the audience? There are some songs that you would expect to hear every time (“The Fever”, “I Don’t Want to Go Home” and probably “Walk Away Renee”) but the rest of the set’s up for grabs. Southside has a huge back catalogue to choose from and the band has a phenomenal repertoire of covers to call on, so the set includes seventies classics like “Love on the Wrong Side of Town”, “This Time Baby’s Gone for Good” and “Without Love”, “Cadillac Jack” and “Woke Up This Morning” from the blues album and “Spinning” from “Soultime”. Throw in the covers; “Ride the Night Away” (J Geils Band) and the Willy DeVille song “Mixed-Up, Shook-Up Girl” and you’ve got a great night.

10th Commandment – It’s all about the band. In Johnny’s opinion, this is the best incarnation of The Jukes (watch out for the interview in a few days) and the partnership with Jeff Kazee is a huge part of that. Both have superb voices and the combination of Jeff’s high tenor and Johnny’s rich baritone is a thing of rare beauty. And that’s before we even get to the quality of the playing.

And that was Friday night at Shepherd’s Bush Empire; I can’t think of a better way to spend a Friday.

There was a fleeting reference in the interview I did before the soundcheck to retirement. You never know if any given Jukes gig is going to be the last you’ll see, so make the most of it. Next time they’re in the UK, I’ll see you down the front.