Jason Isbell-Croxton Hotel bandroom 01.04.16

It was a treat to see an artist like Jason Isbell in an intimate setting like the Croxton band room. I was immediately struck by the ease with which he makes a connection with his audience, the honesty and realism of his songs continue to build him a devoted following.

His new album Something More Than Free showcases a songwriter becoming more at ease with himself and looking at the world around him, especially the insular world of small town America. That album featured prominently in his live set, 24 Frames finds an appreciative response from the crowd. Isbell dips into the past with a powerful version of Decoration Day from his days with the Drive By Truckers. His band the 400 unit featuring guitarist Sadler Vaden, bassist Jimbo Hart, keys player Derry Deborja and drummer Chad Gamble are an exceptional backing unit, Vaden and Isbell traded guitar licks throughout the gig.

Isbell brings the temperature down with a trio of songs that capture the dissolute nature of a lot of his characters, Different Days, Hudson Commodore and The Life You Chose. Isbell performs them with a restrained sensitivity, he opens things up on Cover Me Up his voice is remarkably powerful. Another classic from Southeastern, Stockholm closes the show, I've been lucky to have caught some good Bluesfest sideshows this week and this gig was a standout. There are few performers like Jason Isbell touring around these days so if he is in your city make sure you check him out.

Nathaniel Rateliff and The Night Sweats- 170 Russell 30.03.16

Melbourne in March is always a good place to be for live music, Bluesfest in Byron Bay brings a lot of amazing acts to these shores and the good people behind the festival make sure that us folks further south don't miss out. I have heard good things about Nathaniel Rateliff and his band The Night Sweats in a live setting, lots of energy and impeccable playing and I wasn't disappointed last Wednesday night.

Concentrating on the material from his most recent self titled album it was always going to be a barnstorming night of raw sweaty soul and that is what Nathaniel and his band delivered in spades. Leading off with I Need Never Get Old which appropriately kicks off the album, I'm immediately struck by the energy of the band and their consummate playing, they propel Nathaniel and his voice to lofty heights. Look It Here keeps the audience bouncing on their toes before slightly taking the sting out with the superb Howling At Nothing. Wasting Time is a standout track from the album, a slow mournful slice of country soul and live Nathaniel gives a subtle but powerful performance. My favourite track from the album Mellow Out is given an almost Latin feel but still retains that floating groove. Nathaniel is a polished and engaging performer and he is certainly helped out by an incredible array of talent in his band the Night Sweats.

The band also find time to road test two new tracks from their next album, Out On The Weekend is a solid thumping slab of soul and there aren't too many bands who play soul with that level of intensity and passion. Nathaniel then pushes things back up a notch with the stomping Trying So Hard Not To Know before closing the show with the hit S.O.B in a typically rousing rendition. The encore is a terrific cover of the Band's The Shape I'm In breathing life into this old chestnut. This was a great gig getting up for a gig on a work night can be tough but seeing a great band like this makes the effort more than worth it.

Gillian Welch/Dave Rawlings-Palais Theatre 05.02.16

Missing out on Gillian Welch and Dave Rawlings' last Australian tour 11 years ago still burned deep so there was no way I was going to miss seeing them on their return. We were treated to a sublime, spine tingling performance at the Palais that was immeasurabley appreciated by a rapt Melbourne audience. Effortlessly capturing the dark beauty of their music we were kept enthralled by the resonant grace of their harmonies, at times it felt like there were four voices not two. It seemed apt to open with the first track from Gillian's most recent studio album the Harrow and The Harvest, Scarlet Town featured some dexterous finger picking from Rawlings. Welch's voice is remarkable, so elegant and pure in capturing subject matter that is so dark and turbulent. They took the audience on a journey through the dark passages of southern folklore. Wayside Back In Time which appeared on the Soul Journey album in a more fleshed out form is stripped back to it's old time roots and to me is the better for it. Taking a more ebullient turn the classic Rock Of Ages has a beautiful weary feel to it once again the audience is mesmerised by Rawlings playing.

The Way It Goes was a highlight from Harrow and the Harvest and it's even better in a live setting, their two voices soaring in the chorus. The gospel style I Want To Sing That Rock and Roll is also an audience favourite, Dave Rawlings' voice slips a little quietly more to the fore on this song, rather than just harmonising it sounds like a true duet. The swampy Elvis Presley Blues is another highlight, I always loved that line "he shook it like a chorus girl, he shook it like a Harlem queen". The dark and weary Tennessee showcases Welch's southern storytelling and that sense of resignation that seeps through her songs. Hard Times is probably the standout performance of the night, it's a nostalgic view of old southern times and they way she performs it with such feeling is mesmerising.

On Six White Horses the audience is treated to a dazzling display of Appalachian dancing from Welch as she stomps and slaps her knees. In the encore they do a spirited version of I Hear Them All/This Land Is Your Land. The timeless I'll Fly Away leaves the crowd gasping for more as another encore is demanded. The classic Townes Van Zandt song Pancho and Lefty is a gentle end to what was an amazing concert. To see the true beauty of traditonal southern music performed in such a way takes you to a higher plane.

Father John Misty-Concert Hall Sydney Opera House

I'm not always sure what motivates the 1% of people who go to gigs, it seems that inane banal comments designed to shine the spotlight on themselves the heckler rather than the performer is the order of the day. But as usual I digress from my present occupation and that is to extol the virtues of Father John as a live performer, the show last night was exceptional in every way. His performance was powerful, he has a magnetic stage presence, dressed in black with flowing locks and scraggy beard he launches himself around the stage. I Love You Honeybear seems an apt opening, the title of his latest album which has seen him breakthrough to a larger audience. Father John opens on an intense note, writhing on the floor before leaping to his feat and mounting the drum riser for added effect! His vocal prowess is a little underestimated he has a commanding throat, very soulful indeed. The first part of his set mines the new album, Strange Encounter is given a suitably dramatic treatment, the highlight is True Affection a slab of 80's synth that is coated with soul and performed in emphatic fashion. Only Son Of A Ladies Man from Fear Fun suits itself to a live setting, it's given an anthemic treatment, When You're Smiling and Astride Me takes the temperature down a notch you also notice being in the presence of a great band, his five piece unit don't miss a stride all evening.

I'm Writing A Novel is a given a funky treatment and the vibe is continued with another I Love You Honeybear highlight Chateau Lobby 4 which has an almost reggae feel. Bored In The USA is a brilliant slice of modern sarcasm it's a haunting tune and Father John captures that sense of dread that is the thread of the song. The dark rocking Ideal Husband closes the show before Father John comes out for a brief impromptu Q&A! He lowers the notch with I Went To The Store One Day accompanied only by acoustic guitar and his tremulous voice. Everyman Needs A Companion closes what is an amazing show, Father John is a swaggering, grandstanding on stage presence no one else does it better.

Dawes-Northcote Social Club 19/10/15

Was an absolute treat to see Dawes at the Out on The Weekend Festival on Saturday, the band put on a great show. I was a bit concerned that without Tay Strathairn at the keys that their sound might be missing something but Taylor did an admirable job filling in where required, Tay's unique talents were definitely missed. So it was that I ventured down to the Northcote Social Club on Tuesday night to see the band in a more intimate club setting. I was thinking on the way to the gig whether their atmospheric sound would suit the confines of the Northcote which probably has a capacity of 300 or so. I needn't have displayed any concerns it was a superb gig by one of the best bands going around, it was a tight and energetic performance and it was done with passion and energy from the band. They seemed to deeply appreciate the local support and I noticed them mingling with fans after the show.

The show featured a large dose of their terrific new studio album All Your Favourite Bands as well as some choice cuts from Stories Don't End and Nothing Is Wrong. They opened with the soulful Can't Think About It Now featuring some tasteful guitar work from Duane Betts, Things Happen the opening track from All Your Favourite Bands is becoming a live favourite allowing the band to get the audience going. These guys are all exceptional musicians the standout for me is bassist Wylie Gelber he just lays that groove and he is focused and intense on stage. They keep the more rock based groove going with Right Angle which sounds like a testimony to life on the road, and these guys are the ultimate road warriors they seem to be on an endless tour! If I Wanted Someone from Nothing is Wrong featured some dexterous finger work from Wylie on bass. A highlight of the show was their renditon of Fire Away in which they encouraged audience participation which we were all happy to provide. Taylor has an inexhuastible set of pipes his voice never wavers and is incredibly strong, there are certainly similarities between him and Jackson Browne. The elongated Now That It's Too Late Maria is a tour de force with some great fret work from both Taylor and Duane.

They did a funky version of From A Window Seat (my favourite tune from Stories Don't End) once again I was watching Wylie's fluid bass work, he and Griffin Goldsmith form one of the best rhythm sections going around. They finished with a rousing send off playing All Your Favourite Bands with a well lubricated Johnny Fritz and Robert Ellis jumping on stage for the chorus! Hope these guys get back to these shores again.

Ryan Adams/Jenny Lewis-Forum Theatre 20.07.14

It was on a freezing cold night in Melbourne that I headed down to the Forum Theatre in Melbourne to see Ryan Adams and Jenny Lewis and it was a gig that delivered in spades. I've been a Jenny Lewis fan for some time and have enjoyed her last studio album The Voyager, in a live setting I was taken aback by the strength of her voice. With a cracking five piece band she played the lilting west coast countrified tunes Just One Of The Guys, Head Underwater and She's Not You from The Voyager. She also dips into the bag for some tunes from her days with Rilo Kiley including a cracking version of The Moneymaker. It was disappointing that she didn't get the respect she deserved from the audience, there was a lot of chatter during her set. She never hesitated or faltered and finished with an angelic version of Acid Tongue with her band providing a gospel style backing.

Ryan Adams live is often seen as a rollercoaster ride with a myriad of outcomes from the sublime to the sheer scary, so it was with some trepidation that I headed to the Forum last night to see him in the flesh. To say he was brilliant would be something of an understatement, it was so far my gig of the year and it will take a lot to beat. He played for 2 hours and left nothing but his rock and roll heart on the stage, it was intense and moving. He took the audience on a ride with extended jams and a more than generous serving of his back catalogue covering some 23 songs. With his backing band The Shining he carved out a set that honoured fans new and old, with special mention going to his band and in particular keyboard wiz Daniel Clarke who was phenomenal. The set kicked off with Gimme Something Good the opener from his latest self titled album and a good way to loosen things up. With such an extensive catalogue Adams mixed things up an amazing blissed out version of Peaceful Valley was from his days with the Cardinals, which showcased his underrated guitar prowess. He stuck with the more intense numbers from his recent album Stay With Me was lean and Shadows had a sense of urgency in his performance. Jenny Lewis came back on stage for a dramatic rendition of Oh My Sweet Carolina, he also gave a restrained but by no means impassive version of New York which was my introduction to his music.

Justin Townes Earle- Northcote Social Club 10.04.15

It's always good to get the news that Justin Townes Earle is swinging past this neck of the woods, I think this is the third time I've seen him perform and he leaves it all on the stage, he is a great performer. He can sometimes be a bit ragged with his guitar work but his voice never falters. He is a prolific artist 7 albums in eight years and his output for the lost part has been consistent. In the same tradition of his namesake Townes Van Zandt he writes about heartbreak and sadness as good as any writer out there, his tumultuous life providing appropriate source material. Midnight at The Movies and Harlem River Blues to me were his standout albums a refreshing blend of country, rockabilly and soulful ballads and he slipped quite a few from these albums into his live set on Friday night.

The Northcote was packed and there was a good crowd early for support act Sam Outlaw, hailing from L.A his debut album Angeleno was produced by none other than Ry Cooder. Even more noteworthy is his upcoming U.S tour as support for Dwight Yoakam. Sam has a great voice a real heartfelt country swoon and his material is personal and honest. One of the highlights was Ghost Town written about returning to his home town for his mothers funeral. Justin came out and kicked off with Mama's Eyes from Midnight At The Movies a poignant examination of his close relationship with his mother and the somewhat strained relationship he has with his father Steve Earle. The humorous One More Night in Brooklyn followed from the Harlem River Blues album. The title track from his 2014 Single Mothers provides another insight into the difficulties he faced growing up with a single parent. Worried About The Weather showcases his ability to do slow southern style burners, he offers White Gardenia as a tribute to Billie Holiday who would have been 100 years old this month. Another highlight from Harlem River is Christchurch Woman perhaps one of the most loneliest songs I've heard, with just his guitar and trembling voice he nails it to appreciative applause from the crowd. He closes the show with Harlem River Blues an evocative tribute to New York, would have loved to have seen him close with Can't Hardly Wait but it wasn't to be.

Mavis Staples- Melbourne Recital Centre

A little gospel came to Melbourne last night courtesy of Mavis Staples, who has become a yearly fixture on the Blues Fest bill at Byron Bay. As soon as Mavis walks out on stage you can feel her enthusiasm and joy, she loves to perform and take her audience on a journey. The music of The Staple Singers was all about going on a journey, from the struggle of civil rights and social decay they were a voice for optimism and respect. She started the night with the 1973 hit If You're Ready (Come Go With Me) with that familiar reggae beat supplied by those legends at Muscle Shoals Sound. In the late 60's The Staples were starting to move more towards social commentary they did a great cover of Buffalo Springfield's For What It's Worth and Mavis sang it with great conviction, the past still resonating with the present in all too familiar ways. In 2013 Mavis recorded the album One True Vine with Wilco frontman Jeff Tweedy at his loft studio in Chicago, it was a brilliant album and one of the standout tracks was I Like The Things about Me, it's a great tune about self respect and self confidence and her performance of it was uplifting.

Mavis interspersed the old with new, Respect Yourself had that distinctive funky drive and that stand and deliver tone. Can You Get To That was another from her solo album, whilst she gave a touching rendition of the title track from her 2010 album You're Not Alone. She then dipped back into the Staples bag for the classic Freedom Highway a song written by Pops Staples in 1963 when they took part in the march from Selma to Montgomery Alabama. After just over an hour on stage Mavis finished the night off with two more classic Staples tunes, Let's Do It Again written and produced by Curtis Mayfield and the classic I'll Take You There which had the audience answering Mavis in a call and response. Mavis was backed by a great band, two backing vocalists and a three piece unit that kept things tight. It was a great show and Mavis packed a lot in during her time on stage, she definitely left the crowd wanting more.

Lake Street Dive- Corner Hotel 11.03.15

Lake Street Dive have caused quiet a buzz on their first Australian tour adding extra dates, which was a bonus for me because I missed their initial Feb show at the Recital Centre. In the intimate space of the Corner Hotel bandroom Lake Street Dive delivered a brilliant accomplished performance. They are a band that posses a tight groove and their harmonies are incredible, they just soar. Rachel Price has a vocal style entrenched in the jazz era of singers like Sarah Vaughan, a rich timbre and a unique melisma that has the impact of a separate instrument. Each song she injected enthusiasm and passion, equally feeding of the audience as well as her fellow cohorts on stage. The rhythm section was propelled by the bass of Bridget Kearney who also provides some amazing backing vocals, she uses her upright almost like a rhythm guitar especially when guitarist Mike Olsen switches to trumpet.

The band kicked off the show with rabid animal with drummer Mike Calabrese getting the audience on their feet, flawless would be best way to describe the opening salvo, sounded like the record. It's a risk to go with your best known song early in the set but Bad Self Portrait seemed like the perfect follow up, with the crowd grooving along and singing the chorus. Stop Your Crying showed of their effortless harmonies, Look at What Mistake had Mike Olsen on trumpet which gave the song a more New Orleans soul feel. The jaunty Use Me Up with a funky bass intro is another foot stomper, the band then slow things down with the jazz tinged Bobby Tanqueray and like the pros that they are in the middle eight the band segue into Van Halen's Jump without missing a beat. The slow and sultry Just Ask is another tour de force from Rachel, she just wrings every ounce of emotion from the song, Mike Olsen also takes the opportunity to show some fine blues licks in his call and response duet with Rachel. Go Down Smooth brings things to an end before the encore which features a great rendition of Hall and Oates' Rich Girl.

Booker T Jones/Valerie June Corner Hotel 25.04.14

Another Bluesfest sideshow and just an amazing gig, to see such a legend in Booker T Jones was an exciting prospect and he didn't disappoint. Jones' musical CV is groundbreaking to say the least he was present during the glory years of Stax Records, playing on countless sessions for Carla Thomas, Otis Redding, William Bell, Wilson Pickett and Sam and Dave as well as being a mainstay of Booker T and the MG's. As a producer he has worked with the likes of Bill Withers and Willie Nelson to name a few. In the last few years Booker has stepped back out into the spotlight releasing three fantastic studio albums that have seen embrace new musical settings, he isn't one to cover old ground.

To open proceedings was Jackson Tennessee native Valerie June, who I had only recently been introduced to via Brian Wise on Off The Record who saw her perform at the Juke festival in Clarksdale Mississippi and was captivated by her voice. She has deeply embraced the country blues and her voice truly lends itself to the tales of death, love and despair that are a staple of the country blues. Her voice is amazing, it's piercing at one point and then it's a guttural low growl as she exhorts everything from her guitar. She has a great stage presence, affable and talkative like she is sitting talking to you in your living room.

Booker played for nearly two hours and his selection of material was first class, he kicked off with the MG's spaghetti western theme Hang Em High from 1967, he had that groove locked and loaded and was helped by a cracking rhythm section that included his son Ted on guitar. The classic 1966 song Hip Hug Her was given a similarly ferocious treatment, Booker T not letting up on the intensity of the song as it cranks into the final stanza. Jones spoke of his love for Blues music that had captured him a as a young man hanging outside clubs on Beale Street. He did a great version of a song he co-wrote with William Bell, Born Under A Bad Sign which was recorded by the great Albert King in 1967 and was later covered by Cream. He also did a cover of Muddy Water's I'm a Man but Booker doesn't quite have the raw vocals required to do that song justice.  He then sat back down at the keyboard and talked about a song released in 1963 that was originally a B side, he was talking about the brilliant Green Onions and he had the audience going nuts as he set that staunch groove in motion.

He returned to the blues for a version of the Hendrix classic Hey Joe, allowing his band to cut loose particularly Ted on the guitar. From his latest album Sound the alarm he performed Everything is Everything and Father Son Blues. As the night drew to a close the sounds of Time is Tight wafted out of the organ, slowly building and then the band kicked into that familiar groove, once again Booker and the band were completely locked into a mesmerising foot tapping groove, an amazing gig!

Dr John/Aaron Neville Hamer Hall 21.04.14

Well it's that time of the year again, Bluesfest hits Byron Bay and also brings to Melbourne some of the great acts on the festival line-up. It was the with great expectation that I went to Hamer Hall to see Dr John and Aaron Neville two names synonymous with the New Orleans R&B sound. If you listen to the history of New Orleans R&B from the late 50's you will inevitably hear Dr John or Aaron Neville and his brothers whether as featured artists as in the case of Aaron or as a much vaunted session player that was Mac Rebenack before he became Dr John the Night Tripper in the late 60's.

It was a great show but there were some early sound issues, especially early in Dr John's set his vocals were very muffled but eventually it was sorted out. Dr John didn't dissapoint he covered all his most recognisable songs, the classic Walk on Gilded Splinters from the Gris Gris album was taken at a more sedate pace, the standard New Orleans R&B track Iko Iko was delivered in Mac's classic stretched out New Orleans nuanced style. It seemed from the balcony that he gained greater pleasure in performing material from his latest studio release, the brilliant Locked Down produced by Black Keys front man Dan Auerbach. Revolution which is more of a nod to his early New Orleans style was performed with a nice pumping rhythm and the Dr's vocal performance was first class, Big Shot was done with customary up front funkiness and Getaway also showcased the rawness of his vocals. Dr John was ably backed by a five piece band that included a B3 organ which added to the depth of the songs. He finished with the classic Such a Night, a song I first saw him perform on The Last Waltz, it was a performance full of charisma. Dr John to me has never received the kudos he deserves, he took New Orleans R&B and gave it a distinct flavour that hasn't been matched in over 35 years.

Aaron Neville really is New Orleans royalty, the Neville Brothers were a huge part of the success of New Orleans R&B whether as session players or as part of The Meters or their later incarnation The Neville Brothers. Aaron has had a diverse career and he kicked off the show with some songs from his new album My True Story which covers the classic doo wop and R&B of the late 50's and early 60's. Neville did a great version of Stand By Me followed be versions of There Goes My Baby and Cupid all done in that honeyed soul drenched vocal. He performed  Don't Know Much as a tribute for Linda Rondstadt who was recently diagnosed with Parkinsons disease. He did a great gospel driven version of Bird On a Wire which was released originally by the Neville Brothers in 1978, there was also his classic cover of Main Ingredient's Everybody Plays The Fool. Aaron was joined on stage by brother Charles Neville who played some tasteful horn accompaniment.

Bruce Springsteen-AAMI Park

Bruce Springsteen is one of those rare specimens, an artist who defies time and continues to stay relevant even as his career ticks past its 40th year. He is an artist that continues to challenge himself but all the while staying true to his roots, songs that are cast in the concerns of everyday life, the small town struggles and that sense of fear and desperation that is all pervasive when your back is too the wall. In the live setting he is revered for his commitment to putting over a great show, legend abounds with stories of four hour concert marathons. Springsteen returned to Australia less than twelve months after his last visit and there was a palpable sense of expectation for his return, this time to the larger AAMI Park outdoor stadium. We weren't disappointed the show was incredible, all three and a half hours, there was also the bonus of the welcome return of guitarist Little Stevie Van Zandt.

The show kicked off in exciting fashion with guest Eddie Vedder from Pearl Jam contributing vocals to a cover of ACDC's Highway To Hell and then Darkness On The Edge Of Town, the title of Bruce's gloomy 1978 masterpiece. He followed that with the epic Badlands, a song that resonates with that dark beauty that Bruce is famous for. On his new album High Hopes he does a great cover of The Saints classic Just Like Fire Would which he recorded during his previous Australian tour. Bruce then went to the crowd and dragged out a sign signalling to the E Street Band that Hungry Heart would be next and they didn't disappoint it was a rousing version. At this point Bruce let the crowd know that he didn't want tread over old ground so he announced that he was going to perform The Born In The USA album from start to finish, his performance of the album was superb, as was the effort of the E Street Band. Max Weinberg would have to be one of the most underrated drummers in rock, he is the rock from which Bruce and the band build their sound. Bruce then returned to Darkness for Factory which had an especially poignant meaning in light of recent events.

Bruce kicked off the encore with Heaven's Wall from High Hopes before launching into the anthemic Born To Run, followed by the early classic Rosalita from The Wild, The Innocent, The E Street Shuffle. Bruce then went way back with a version of Moon Mullican's Seven Nights To Rock before returning to the classic Born To Run for the soulful effervescence of 10th Avenue Freeze Out. When all seemed done Bruce came back, after all the glory and all the reverence and finished off with an acoustic version of Thunder Road.

The National- Sidney Myer Music Bowl

Last night in the surrounds of the botanical gardens nestled inside the myer music bowl I caught a glimpse of the best band in the world right now. A bold statement yes but for those who were at the bowl last night I think there would be few who would disagree, we saw a band at the top of it's game. Their sixth album Trouble Will Find Me broke new ground for the band their layered despair still evident with the music cascading and encasing the listener. That is how it felt last night, the music floated into the air and just enveloped the crowd, they kicked off with Don't Swallow The Cap from the new album, what intrigued me most was the work of drummer Bryan Devendorf, he is an amazing drummer so rhythmically precise and propulsive. I Should Live In Salt has the crowd wafting in the cool summer evening breeze, it's probably the anthem of Trouble Will Find Me, the band seem to effortlessly recreate the atmosphere of the album in the live environment.

The brilliant Sorrow from High Violet is one of those songs, brilliant in it's despair that hi hat nailing that sense of despair. Matt Berninger striking in a suit leaning on to the microphone, walking with purpose around the stage like he is being tormented by a thought. Bloodbuzz Ohio is another anthem that has the crowd enraptured, there is a strong connection between the band and it's fans, a sense of connection with the songs. For me the highlight is their rousing version of Sea Of Love, that pounding rhythm and soulful vocals from Berninger have everyone up and dancing. The band then slow things down with the closer Hard to Find from the new album. their two recent albums dominate the set list, Pink Rabbits is another one of those songs that drifts from the stage bouncing here and there, England has that heaviness to it like a mist rollling in. There was not one moment where you felt the show lag, it was peerless in it's execution but the band played with passion. Berninger crowd surfing towards the end of the year was a sight to see, the band closed with Vanderlyle Crybaby Geeks in an acoustic format, it was an apt way to finish an amazing gig.

Cody Chesnutt- Metro Theatre Sydney

Last year saw the release of Landing on A Hundred the first full length album in ten years for soul artist Cody Chesnutt. It's a great record that covers Chesnutt's spiritual re-awakening but also follows a grittier path about the ills of society, very much in the vein of Marvin Gaye and his What's Going On album. So being enamoured with the album I was looking forward to seeing the album performed live and I wasn't disappointed, Chesnutt gave an energetic and intense performance. He seems like an artists that won't accept second best, at one point at the start of a number he stopped his band and demanded a tighter opening which they duly delivered.

He came bounding on stage singing the brilliant That's Still Mama with his urgent and insistent vocals more than adequately supported by a crack rhythm section. The joyous Till I Met Thee was enthusiastically received, even on slower numbers like What Kind of Cool Will We Think Of Next he kept the audience engaged, there were no flat spots in the performance. He covered nearly the entire album including the autobiographical Everybody's Brother which details the difficulties of his past, Love Is More Than A Wedding Day which harks back to the glory days of Motown. As he came back on stage for his encore he announced that he no longer performs any songs from his breakthrough album The Headphone Masterpiece which cause some minor chagrin in the crowd. Probably the highlight of the gig was Cody coming out after the gig to sign autographs and pose for photos.

Bobby Womack-Hamer Hall

I'm feeling fortunate today and a little sorry for those in Sydney who were eagerly awaiting Bobby Womack's live performance last night at the Sydney Opera House only for it to be cancelled due to Bobby's health problems.

I can say that his performance on Tuesday night was outstanding, it was one of the best concerts that I've seen, never mind the fact that he was on stage for barely an hour, he barely let up from the moment he came on. There was no endless filler or stage antics it was wall to wall classic Womack. From the opening strains of his classic Across 110th Street I knew I was in for something special, his voice still has that growl and that deep expressiveness. His classic Harry Hippie was an ode to his brother and has a classic southern soul feel to it. No one sings of the vagaries of love and life like Bobby Womack there is so much of his own soul invested in his music it lifts it to another place. He was helped by a cracking 13 piece band who added great funk and power to songs like I Can Understand, Nobody Understands You When You're Down and Out from his 1973 album Across 110th Street. That album deserves to sit alongside Marvin Gaye's What's Going On and Curtis Mayfield's Superfly as an album that openly declares the desperation felt by many in America in the early 70's.

Bobby found a home in the late 60's at American studio's in Memphis where he worked regularly with Wilson Pickett writing songs like I'm In Love, Midnight Mover. He can also be heard on Joe Tex's Skinny Legs and also contributed to Janis Joplin's Pearl album. It was from his time at American that he recorded the classic Woman's Gotta Have It and That's The Way I Feel About Cha, he gave memorable renditions of these songs on Tuesday night. He also didn't let me down with his classic Lookin For A Love which he originally cut as a member of The Valentino's in the early 60's. Womack had spent time in the early 60's recording for Sam Cooke's SAR label. Lookin For A Love had the crowd up on it's feet, and his band really gave it some drive.

JD McPherson/ Royal Southern Brotherhood- Corner Hotel

Last night I saw another Bluesfest sideshow with JD McPherson and The Royal Southern Brotherhood at the Corner Hotel. It was an interesting gig to day the least, more people came to see the support act which was JD than they did the headliners. The venue was probably just over half capacity when JD came on but as soon as he made for exit stage left the punters made for the front exit. So when the Royal Southern Brotherhood came on the venue was three quarters empty, which was both disconcerting and disappointing, if you go to a gig you at least stay and watch the headline act, you've paid for the ticket!

JD McPherson gave an incendiary performance, it's high up their for my gig of the year so far. He basically tore the Corner to shreds, from the moment he hit the stage with his band he didn't take his foot off the pedal. His album Signs and Signifiers has had an interesting gestation period it was released nearly three years ago on a small label in the U.S and gained a cult following. Last year Rounder records picked up the album and re-released it to more acclaim and stronger sales, helped along by a performance on The David Letterman Show. Melbourne has a strong rockabilly/rock n roll scene so they were out in force, it's an interesting crowd, a mix of hot rod shirts, nudie shirts and plenty of slicked back hair and brylcream! JD didn't let them down showing the same raucous and faithful display that permeates through his album. The highlight for me was the closing number Wolf Teeth which has the darkness of a classic r&b tune from the late 50's, it also has some amazing work from his piano player he does a great impression of Jerry Lee by giving his elbows a workout across the keys. North Side Gal is pure 50's r&b with honking sax and frantic vocals whilst Scratching Circles goes back to the early 50's when R&B began to add a sharper backbeat and begin the transformation towards rock and roll. You can see and hear that this is a band who have performed a lot of gigs because they were tight, Jimmy Sutton on stand up bass is a wonderful player, he really has that slap rhythm down pat. If JD gets out here again don't miss it because I think there big things to come from him.

After a half hour break The Royal Southern Brotherhood which boasts a stellar cast of musicians including Devon Allman (son of Gregg), Cyril Neville and Mike Zitio came on stage to an empty room and a splattering of applause. However it didn't seem to affect the band, they played with passion and were incredibly tight. However for me it all seemed like I'd heard it all before, the hard southern rock, lots of guitar solos it lacked freshness. I haven't heard their self titled debut and it did get rave reviews in the U.S but it didn't grab me. I was impressed with Devon Allman on guitar, he looks similar to his uncle Duane, he plays those rapid runs that Duane was the master of.

The Tedeschi Trucks Band- Hamer Hall

It's great to see The Tedeschi Trucks band back in Australia, I was fortunate enough to catch them in 2011 on their first visit to Australia and was blown away by the intensity of their live show, Susan Tedeschi has few peers when it comes to interpreting a song, her sharp visceral soul delivery matches perfectly with her husband, guitarist Derek Trucks who inventiveness and scope as a guitar player seemingly knows no bounds.

This concert is already the front runner for the Nighthawking gig of the year! It was an amazing concert, this is a band that continues to excel and subtly change it's dynamics. The band stuck to a setlist that featured the best of their two albums to date, although notable omissions were there classic cover of Everybody's Talkin and Darlin Be Home Soon which featured on their second album. The band opened their set with Don't Let Me Slide from their debut album Revelator, Tedeschi's expressive vocals were a highlight as they were throughout the show. Midnight in Harlem is a classic and features some stirling keyboard work from Kofi Burbridge, Derek Trucks gives an amazing solo full of soaring slide guitar. To me on this tour Derek seems more restrained, his on stage demeanour was different, he played mostly with his back to the audience not in any kind of indulgent way but he seemed content to stay in the background.

The band then tore into a boisterous version of Rollin and Tumblin with some fine solo work from Tedeschi, she also shows that she can belt out the blues with the best of them. The smouldering That Did It also from their live album was an indication of how tight this band sounds. Nobody's Free gave the band some room to move in the intro with some free jazz explorations, Derek is an inventive guitarist with a passion for jazz and an inclination to push the boundaries. They also do a barnstorming version of Uptight the Stevie Wonder chestnut. With a 13 piece band and two drummers it was such a full and compact sound, that is what I love about hearing this band live, it's so tight and large sounding. You add to that the sublime voice of Susan Tedeschi who can sing an aching soul tune, shout a blues tune and deliver it all with gospel fervour.

Gotye- Sidney Myer Music Bowl

Not too many Australian acts ever get the chance to grace the stage at the Myer Music Bowl unless they are part of the festivities for Carols By Candlelight. Tonight Gotye headlined the tree lined bowl in front of a hometown crowd, I arrived not long after 7pm to find very little space left on the grass. Gotye is an interesting phenomenon his arrival from indy cult status to bonafide pop star has perhaps created a disjointed fanbase. There are those who have always enjoyed his DIY ethos and independence and then there are those who have become rusted on following the wordwide success of Somebody I Used To Know and the album Making Mirrors. As has been happening on his tour once he performed the hit single about 3/4 of the way through there was a noticeable availability of spare ground.

There is no questioning of his talent, the show emphasised his command of synth sounds, the percussive overlays that were never overused. He was able to reproduce the sound of his album faultlessly live, however there was a dynamic missing and that was between Gotye and his audience. I think the Bowl was the wrong venue for him, I think his stage presence and his songs require a more intimate venue, Festival Hall maybe or the Palais Theatre. Also the show probably lacked a bit of pacing on the unfamiliar songs or slower numbers many in the audience found it an opportune moment to head to the bar, it highlights the fact that not a lot of the audience no his previous albums and he can't play an entire showed based on his current album. Still it was a great show, Gotye is a brilliant musician and his vocal performance was impeccable. He does something that is hard to do, he takes something old and gives it a layer that makes it sound fresh.

Unpaved Anniversary Show- Northcote Social Club

Unpaved is an online magazine dedicated to the local blues and roots music scene in Melbourne, the magazine has just turned one so in celebration a gig was held today at the Northcote Social club featuring Sean McMahon's Western Union, Saint Jude and Liz Stringer. It was a great gig, I love the band room at the Northcote, small and intimate and not too far to walk to the bar! I was really impressed with Saint Jude I'm a fan of their new album and have been meaning to review it for some time, their live performance was tight but it had a wonderful loose feel and some exceptional playing. I was unfamiliar with Sean McMahon and his group Western Union but was impressed with his material and guitar playing. I was also impressed with the bass player, he added a strong rhythmic presence which gave each a richer texture.

Liz Stringer was terrific performing with bass and mandolin, her voice is amazing so powerful and intense, her songs are captivating, she delivers these intense stories of loss, pain and love but there isn't an ounce of self pity just this underlying strength and wisdom. Melbourne has an amazing music scene especially when it comes to blues, roots, country, whatever your inkling Melbourne has it most nights of the week. This scene is superbly supported by community radio something I've drummed on about before. 3RRR has Twang on a Saturday afternoon, there is Acid Country and 5ft High and Rising on 3PBS, 3CR has one of the longest running blues shows on a Saturday night and a great rock and roll show. These shows are so important in keeping the thread of roots music alive and unpaved is helping to keep the new forms of music going in Melbourne.

www.unpaved.com.au

Lil Band O Gold- Regal Ballroom

On Thursday night I went down to the Regal Ballroom to see South Louisiana supergroup Lil Band O Gold perform live and it was a great show, especially the performance of drummer/vocalist Warren Storm who is an icon in the swamp pop genre, he was one of the true pioneers of that style of music. The band also features guitarist/vocalist C.C Adcock who is a very underrated guitarist, a true finger picker and heavily influenced by the Louisiana Hayride style of guitar playing from the late 50's. The band featured songs from their new album Lil Band O Gold Play Fats a tribute album to rock and roll legend Fats Domino. Warren Storm has an amazing voice, very soulful and expressive but also very relaxed like his drumming, he has that loose feel where he almost plays behind the beat but he is never out of time, his playing has a real funky feeling to it very similar to someone like Levon Helm. The band has a multitude of vocalists with C.C Adcock performing memories from their debut album Promised Land. Accordian player Steve Riley did a great version of the Tommy McClain classic Before I Get Too Old a song that was enhanced by the great lazy drone of Dickie Landry and Pat Breaux on horns. Keyboard player Dave Egan did a rocking version of the old John Fred classic Shirley with some storming boogie woogie flourishes.

The Band then dipped into the Clifton Chenier songbook for their unique take on some cajun standards, the beauty of this band is that the music has that good time feel that is such an intrinsic part of the South Louisiana scene but the playing is never lazy this band is tight and totally in sync with each others playing. Warren Storm did a terrific version of his classic Prisoner's Song from 1958, people should also check out the b side to that song Mama Mama Look What Your Little Boy Done which is a great slice of Louisiana swamp pop. The only criticism of the performance was when local singer and You Am I frontman Tim Rogers took the stage and did an exaggerated version of I'm Walkin and followed that with a bizarre version of Led Zeppelins Whole Lotta Love which saw a lot of people walk out. This closed out the show and it was  a little disappointing to end what was a great show on that note.