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BLACK
COUNTRY COMMUNION
Shepherd's Bush Empire, London, 30 December 2010
Photos by
Noel Buckley
Black
Country Communion's second ever show, excluding their unveiling at John
Henry's studio, was a conceptual and musical triumph born of the classic
rock roots of The Black Country (The West Midlands), the home of
messieurs Hughes and Bonham and the area the band filched part of their
name from.
With the
pair of English rockers doting on their classic rock heritage and the
two American's reliving hard rock history, Black Country Communion
turned out to be the impressive sum of its disparate parts, a crucial
link in an enduring musical lineage.
The Empire's expectant full house was treated to a rousing hour and 40
minute set that just about conjured up a coherent whole. Let's face it:
any band with Glenn Hughes at the helm will be hard pushed not to get
caught up in the maelstrom of his stage performance. He is a one man,
bass playing dynamo who explored the full contours of the Empire stage
by exaggerating his every nuance with a series of calisthenics and the
kind of reverb drenched high pitched scream that recalls Gillan in his
pomp.
On the other
side of the stage was the supremely talented guitarist Bonamassa, who
via a series bended knee stress positions, musically matched every one
of Hughes' postures. The two occasionally met as Glenn pranced over to
the right hand side of the stage positioning himself face to face with
Joe to demand an extra drop of intensity from his front line partner.
And in those
grand stage gestures lay the very reason why this thrilling band worked
so well. For all the intuitive dexterity of keyboard player Derek
Sherinian and the powerhouse drumming of Jason Bonham, they both find
their creative context in a band that pushes the thin dividing line
between hard rock and rock blues to the max. The end result was an
exhilarating excursion into what in contemporary parlance is termed
Heritage Rock.
So while
Glenn hit the audience hard on the opening 'Black Country' and the
mighty groove of 'One Last Soul', he raised the bar on the muscular 'Beggarman',
which derives its sense of contemporaneity from the Muse like riff.
It was also
the number on which his effervescent trajectory nearly sent his bass
flying over his head. And after an impossible electrifying start BCC
subtly shifted gears on the band composition 'Too Late For The Sun' on
which they stretched out with keyboard player Derek Sherinian
interplaying beautifully with Bonamassa on guitar.
Joe finally
stepped up to the front receiving warm recognition for the opening notes
of 'Song of Yesterday'. The song shifted from a delicate introduction to
some Zeppelin style coruscating riffs, and some very effective shared
vocals, before a searing solo and a tub thumping crescendo.
Joe added a
tough rendition of his own 'Ballad of John Henry' complete with
additional tonal inflections from a theremin. But any suggestion that
his talent would overawe the band were immediately quelled by the heavy
descending chords of the mighty Hughes/Bonamassa co-write 'The Great
Divide', a song that emphasized the enduring vocal brilliance of Glenn
Hughes.
And while
Glenn made the most of his old Trapeze favourite 'Medusa', the band
reverted to their Classic Rock sticking plaster on a rapturously
received cover of Zeppelin's 'No Quarter', complete with a with a 'Sloe
Gin' sounding introductory keyboard figure. For good measure Hughes and
Bonamassa shared vocals on the epic 'Sista Jane' which climaxed with the
riff from The Who's 'Won't Get Fooled Again'.
And so the
deserved encore, with a ripping version of Glenn's piece de resistance
'Burn'. As the band took their inevitable bow at the lip of the stage,
you'd wager there wasn't one disappointed fan in the room.
While Joe
earlier joked that he had played the venue before 'when I was bigger',
BCC's second album will doubtless decide what the future holds for an
outfit that derives its thrilling existence from being delicately
perched on the cusp of a weighty musical past and sparkling potential
future.
Review by
Pete Feenstra
Photos by
Noel Buckley
Alternate view by Andy Nathan
Wolverhampton, 29 December
and photo gallery
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