JOANNE SHAW TAYLOR IN THE QUEENS HALL, EDINBURGH 02/12/22
With support from JON ALLEN
Tonight’s support act Jon Allen strolled onstage without fuss, armed only with an acoustic guitar and a fantastic back catalogue drawn from the five albums he has so far released and even after just one song in it was clear that the crowd liked what they were hearing.
His breakthrough came performing on Later With Jools Holland which has led to touring with the likes of KT Tunstall, Mark Knopfler, and Seal, furthering his musical cause.
With his easy-going attitude, natural storytelling and a whisky-soaked roughness to his voice. There’s something warm here and whether he played the traditional acoustic blues of ‘Bad Penny’ or the Calypso shuffle of ‘Happy Now’, his cracked vocals particularly full of a pain and longing in the latter, everything is an invite into his world.
Jon has gone down exceptionally well with tonight’s audience who have primarily turned out to see and hear Joanne but given the hearty reception on finishing his short set I’m sure there will be a considerable queue at the merch desk waiting for him.
Strutting onto the large Queens Hall stage with her beautiful ’66 Esquire, Joanne Shaw Taylor and her band with absolutely zero fuss launch into a superb version of Peter Green’s ‘Stop Messin’ Round’ in the spotlight Taylor stuns us right away with her mastery of the fretboard.
Joanne Shaw Taylor is out on the road supporting her eighth studio album called Nobody’s Fool. Released on October 28, the album is produced by friend and fellow guitar slinger Joe Bonamassa. While the new music pushes into a more pop-oriented melodic flow, Joanne retains her bluesy roots. Nobody’s Fool is a wonderful change of pace and lets Taylor stretch her wings as a writer. After eight acclaimed studio albums and an electrifying live set, JST has positioned herself at the forefront of the blues-rock scene.
Two Time My Lovin’. Her friends agreed it was a great tune but the message was ‘bad’. Joanne said that she had chosen the track for the album and loved the song, though she was at pains to point out that the sentiments in the lyrics about a woman continuing to date a man who had been unfaithful to her were ‘absolute bullshit’ This raised a healthy cheer and affirmed that there was plenty in complete agreement.
‘Three Time Loser’ the Wilson Pickett version is next. Honky Tonk piano fills the air, joined by a steady shuffle beat from the drums and a bouncing bass that hooks into the keys as Joanne’s smoky lyrics fills the air. This late 60’s track has a thick sounding, crunching solo lick, halted, as the keys get a run out on their own with a boogie woogie style plinky plonk piano. Joanne and Lehane, on bass, play back n forth. You know as the song travels its building to a screaming solo, seemingly running out of frets as she plays an ascending run, face contorted as she squeezes the final notes from her guitar.
Joanne’s singing is highly distinctive and perfect for the type of music she plays with a very gravelly, husky tone., which has a Susan Tedeschi feel to it, her performance is polished, but at the same time believable, her guitar solos are effortless as she hooks in and takes you on the journey with her, throw in her husky voice and you have the real deal right there.
Next up was ‘Keep On Lovin’ Me’, which showed off a smooth vocal performance and a few flourishes on guitar that were reminiscent of her mate Joe Bonamassa, who co-produced the album, Joanne was now exuding a swagger as she crossed from side to side of the stage whilst engaging with each of her band mates.
Trading her telecaster for a parlour style acoustic, Joanne introduced the new song “Fade Away.” She mentioned that her mother had passed away nearly ten years ago. This song is a way to wonder what her mother might have said to her today in a letter. As she stood on the stage under a single light, the audience was transported into the intimate portrait of loss and wonder. Anyone that has lost someone knows this pain and desire to have just one more conversation. Especially where you wish you could ask the questions never spoken.
“Grieving is a process, all they would want is [you] to be happy and make the most of your time here.”
In a male-dominated guitar world, she truly holds her own and cleverly dips her toes outside of blues into other realms like soul and even back into the ’80s era. It all seems effortless for Joanne who clearly loves nothing better than being on stage with her tight-knit band.
After final song Mud Honey, Joanne and her band received a standing ovation and promised to come back sometime soon which on tonight’s performance should guarantee a bigger venue as all who were there will certainly want to see her again and hopefully bring a friend or two.
Review and Photographs by Stuart Scott
