TMGS and Dieter van der Westen Band Live. Q-Bus, Leiden Tuesday 18 December 2018

TMGS: photo Wo.

A double bill in the Q-Bus in Leiden this evening and what a bill. TMGS has released two of the most beautiful albums of this decade: 'Rivers And Coastlines: The Ride' and 'Ain't No Place'. Dieter van der Westen Band proved one of those total surprises, easily packing in every one in the audience.

TMGS from Antwerp by way of Kalmthout plays a mix of country music and Americana, laced with the softest tinges of high quality pop music and a dose of rock in the right places. And then come in the trumpets, although only one this evening. On record the band reaches an enormous high level of perfection. When I take in the fact that the band is almost more of a hobby, I doubt whether a higher level of perfection can be reached without an unlimited number of studio hours. My take is that this would probably lead to overkill.

So expectations were incredibly high on my end. The seven took to the stage and an impression of a band tuning up, all at once, was created, all making vague noises. Before slowly and softly a strummed guitar came forward and the clear sound of the trumpet announcing the beginning of that highlight of 'Ain't No Place': 'Cold Day On The Lake'. What a beautiful beginning.

Peter Lodiers: photo: Wo.

The previous show in Q-Bus in 2013, was marred by sound troubles on stage and for the audience. This time things were mixed perfectly as usual in the Q-Bus. Right from the start all the instruments came across so clear and I knew we were going to be in for a treat. A pedal steel guitar added another element of authenticity to the Americana TMGS plays. The trumpet adds an extra layer of desolation and longing to the music and the lyrics on moving, travelling, coming and going somewhere.

The songs from the latest album 'Ain't No Place' all made the cut when played live. Melodically TMGS presents so many surprises in its songs. Yes, live that third and/or fourth guitar or keyboard part cannot be played and some of the harmonies are amiss, yet even then there are so many guitar parts, pedal steel, keyboard, bass runs and inventive drumming to follow, that two ears at times are not enough.

I found myself so impressed by what was going on. When 'Tell Everyone', the first song from 'Rivers And Coastlines: The Ride' that introduced me to TMGS, was played heaven was reached. If I had died there and then, luckily I did not, the world would have been at peace. Musically it could not have become any better, perhaps ever.

D. vd Westen: Photo: Wo.

Dieter van der Westen Band played another perfect set this evening. Far more traditional country music was played. From ballads to country rockers and more jazz tinged, all came by in this set. With three different guitars, acoustic, electric, dobro or banjo, joined by drums and an upright modern electric bass, totally different sounds and solos could be played. Four part harmonies were no exception in the songs of  this band. Van der Westen himself has a pleasant edge to his voice, reaching all the way to that guy with the rough voice in Gomez. When a song "not really fitting in" was played, it reminded me of Gomez as well; indeed an odd one out here.

The guitarist appeared to be playing more or less ad lib, reading chords from a pad, playing impressively good. A clear country sound, finger picking little guitar runs or fabulous solos made a little dirtier in sound. The contrast with the slide notes on the dobro or fingerpicked banjo was working out fantastically.

This band also started off in a surprising way, with African percussion in a country song, creating a totally different sort of sound and atmosphere. It was a pity the band did not return to this mood for one or two more songs. Regular drums were the preferred standard.

TMGS: photo Wo.

Afterwards people compared the bands. Some were impressed by both acts, others preferred Van der Westen. To them I answered the following. Dieter van der Westen Band plays a perfect Americana with original songs, but in a traditional way. TMGS has made a few genres its own, created a more original sound and sonically experiments to create new sound combinations in a traditional environment. No one disagreed.

A perfect night ended the 2018 season of 'Hans van Polanen presents'. Two acts with great impact and musicality of which one happens to be one of my favourites. Yes, the spine was tingled all right: TELL EVERYONE how good TMGS is.

Wo.

Listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Chuck Prophet & Stephanie Finch with Jesse Malin. Q-Bus, Leiden Tuesday 11 September 2018

Photo by Wo.

It seems the moment Chuck Prophet sets foot in The Netherlands he drives his vehicle in the direction of Leiden to set up gear in the Q-Bus. I've seen him play totally jet-lagged, stressed as the instruments had arrived too late in the port of Rotterdam and totally relaxed, like yesterday, with broad smiles and happiness all around.

There was one main difference though: The Mission Express was left at home. Just Chuck, his acoustic guitar and Stephanie with keyboard or guitar playing each other's songs and a few covers. The Q-Bus was packed and ready for it. Mr. Prophet obviously has many fans around Leiden on the basis of his songs and great shows.

The show started with Jesse Malin, the New York singer-songwriter who is often associated with Bruce Springsteen on acoustic guitar and Derek Cruz, playing Roy Bittan like piano parts, lead acoustic guitar and singing heavenly harmonies. The ideal side kick, were it not that the two wrote several songs together over the years. Through the years I have checked two or three of Malin's records, but always ran into the fact that I thought them not to stand out enough or perhaps too U.S.A. to my taste.

Photo by Wo.

Enter this Q-Bus show. There was not a single weak brother to be found in between the very various songs. Influences from Bruce Springsteen to Paul Simon and Live came by in strong and powerful songs or songs full of expression and emotions. Malin proved to be a slightly cynical optimist who preaches PMA, Positive Mental Attitude, and Carpe Diem. I can live with that. Without we are all lost. So meet you "at the end of the world" indeed, Jesse. It was one of those evenings that I was pleasantly surprised by an artist I did not expect much from, just the steppingstone to the headliner. So, thank you Jesse Malin and Derek Cruz for a great show in your own right. And thank you for that beautiful rendition of Big Star's 'Thirteen'.

Chuck Prophet played a won match before he entered the stage. Several of his songs have proven themselves over the years to be true earworms. Each of his albums contain several of them. In fact there is something like a Chuck Prophet song, recognisable in thousands. Yes, in part that starts with his typical voice I can listen to for ages, but there is more. A part is the expression of melancholy for things passed or lost, a part is keen observational skills and then there is a part irony about the state of the world, where you can hear the questions marks being accented. Prophet captures that all in his lyrics and his music. All of them well-crafted with little unique turns and licks, setting them apart, with his voice giving off these already mentioned hints. A true songsmith.

Listening to this set, with songs, from over his whole solo career in a bare setting, it is clear that progression is not necessarily necessary to make records containing songs that come close to perfection. The basis was there from the start, Chuck Prophet just became better at honing his skills for sure.

Together Stephanie and Chuck sang songs they are attached to, Dylan, Bowie/The Merseys/The McCoys. The pleasant surprise of the evening was that the songs of Stephanie Finch easily stood her own in the whole of the evening. Different, more subtle, containing small hints to decades of serious pop music. It made the evening even more special it already was. The Q-Bus was turned into a large living room filled with, mostly, strangers. The show was very intimate, with all the interaction possible between artists and audience.

One person was slightly disappointed though. She had come to hear 'Jesus Was A Social Drinker' live and that did not happen. Next time around, Mr. Prophet?

Wo.

Listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2

David Ramirez Live, Q-Bus Leiden. Friday 2 February 2018

Photo Wo.

It was just as well that David Ramirez said somewhere into the show that he was doing quite alright and truly enjoying life, as many present may have begun to worry about him listening to his lyrics. Ramirez is an artist who enjoys looking at his dark side and is totally inspired by the darkness he then sees and feels.

Did I write in my review of Ramirez' last album that I wan't totally convinced (yet), but expected a great show if he could translate this feel to the stage? (Read here: http://wonomagazine.blogspot.nl/2018/01/were-not-going-anywhere-david-ramirez.html) Well, the album has convinced me in the weeks since the publication and David Ramirez totally delivered on stage.

The Q-Bus was pleasantly filled and saw a stage with just a guitar on it, one microphone and a stool with some stuff on it. A bearded man came on stage, strapped on the guitar, checked the tuning and started playing. The one hundred plus people present fell silent and remained silent for one and a half hour, in rapture of this man and his songs. Again the artist showed his appreciation of this, including how he is encountered, catered and musically supported in sound and all, pointing to the big differences with his home country the U.S. Something I just can't understand. If you pay someone to play on stage you would want him to be able to give the best show possible and not have him struggle through his show? And have the audience come back to enjoy such an experience? But who am I? Let me enjoy the luxury of Q-Bus.

Ramirez showed us his appreciation by playing his songs, at times with surprising emotion. He really showed us how he feels about certain topics. Even where fellow musicians are concerned. It is about what you have to say and nothing else. He made that very clear to us.

Photo Wo.

The opening song on his latest albums 'Twins' starts with this sentence: "Where were you when we lost the twins". I took this sentence very literal. It shocked me. From the context listening live with the introduction to the song, pointing to the last election, it became clear to me "the twins" are the "Twin Towers". Funny how something can strike one like a revelation, all during listening to a beautiful song.

As a surprise to me I was treated to a cover of 'Vampire Blues', a cover of Neil Young's track that I finally got to see live at Young's show last year in Amsterdam. David Ramirez played a fine cover version of this dark and haunting song.

When he finally played his happy song, written as the good son he is after his mother's request, it was (almost) surprising how many times the word darkness can pop up in a song about the light. But then, without the other there is no contrast. A perfect combination of 'Forever Young' and 'I Shall Be Released' this song about the light was.

David Ramirez fulfilled all my expectations and more. One man, one guitar and sometimes an harmonica (yes, that Dylan influence came out live quite well at times) was all it took. Great show.

Wo.

Worry Dolls live. Q-Bus, Leiden Wednesday 10 January 2018

Photo by Wo.

"(All I've got is a red guitar) three chords and the truth", Bono sang in 'All Along The Watchtower', U2s cover track of Jimi Hendrix' 1968 hitsingle. It was seen as the truth for nearly 30 years. Since 10 January 2018 I'm going to change things for once and for all. Having heard the Worry Dolls live this phrase has to be changed to "All I've got is a guitar and a banjo, three chords and harmonies". Man, can these girls sing.

Together with Drummer Finn, of half Dutch descend, Zoe Nichol and Rosie Jones played a very sweet, nice but most of all totally convincing show in Q-Bus, Leiden. From the get go, ''Train's Leaving' the two young woman stood there singing with a smile on their faces and the intention to have a good time while providing the audience one as well. In this Worry Dolls succeeded totally.

I had been drawn to the show by the album 'Go Get Gone' (read my review here: http://wonomagazine.blogspot.nl/2018/01/go-get-gone-worry-dolls-2.html). The harmonies and the way of playing sound so utterly nice that I could not resist going to Leiden once more. Of course on the album Worry Dolls is accompanied by Nashville musicians who ride from studio to studio to do their thing for scores of artists. The question was how does the duo translate this interpretation of its music into a live show?

Photo by Wo.

The answer was basically as elementary as possible. Hence my opening statement. I have never seen professional musicians play at such a basic level, where nevertheless everything fell into the right spot. Not just a little, but sheer perfection, without a single moment that a song got to a point that it felt glib or sounded too good to be true. No rhinestones here, just pure diamonds and gold. Two voices that seem to be made for each other to sound perfect together. So much power and ease went into the singing. When a song was played on the piano instead of a banjo, I had the impression that Zoe Nichol had just learned to play the instrument and needed all her concentration to play. Yet, I was simply astounded by the total sound of that piano with a small guitar, some easy played drums and then, again, those voices. Nothing else was needed except for the perfect sound mix.

As an aside. Again I was taken by how haunted a banjo can sound. Just a few, slow played notes, some reverb and it's like walking around in a ghost house, with no idea what's up in store just behind the door.Worry Dolls use the effect sparingly but to great effect in its songs.

I thought that the album was good. Live Worry Dolls is a revelation. I can't tell you what more these two women need to play far bigger venues in this country and elsewhere soon. They have the songs, the music, the voices and the enthusiasm to capture audiences. Go, Worry Dolls!

Wo.

You can listen to and buy Worry Dolls' music here:

https://worrydolls.bandcamp.com/

Watermelon Slim & The Truckers live. Q-Bus Leiden, 5 July 2017

Bluesnight in the Q-Bus in Leiden and a lot of people defied the nice summer evening to sit together in a hot Q-Bus emulating a southern jukejoint, only missing it by about 10 degrees Celsius. Now Watermelon Slim is a blueshero that I was totally unfamiliar with, but as it had been a while that I saw a blues show, I thought to go back to my old hometown and submerge.

This was exactly the right decision to make as it was blues we got in several guises. The impression that "the blues" is an alternative kind of faith was impressed upon the audience several times. Watermelon Slim talks a lot during the show while tuning his "cheap Chinese guitar" or otherwise turning the talk into a kind of sermon where the audience is more or less invited to roar in accordance, in place of the amen at a regular service. So let's see if president Trump is no longer president in February next year. I seriously doubt it by now and we may be stuck with the man for another 7 and a half year.

Watermelon Slim was born as Bill Homans in 1949 and is from Tulsa, Oklahoma although he now lives in Clarksdale, Mississippi, crossroads and all. After a life that led him from a tour in Vietnam to an anti-war veteran organisation, college degrees, journalism and truckdriving, he began his musical career in earnest in his 50th year and is a recording artist since 1999. A career that led to several awards and nominations in the blues category through the years in more than one country. In other words the lack of foreknowledge was totally of my own making.

With a face showing hardship and characteristically no dentures, Homans does his thing, professionally supported by a bass player and drummer and a much younger guitarist who regularly had to find his way through some of the songs, apparently not familiar (yet) with all the songs -and play a great solo in a song where he was obviously looking for what chords the others were playing. Now following their leadman is not always easy as he tends to go off and not always arrives where it is expected. Creating the more atmosphere and lived through experience because of it.

Alternating between a harmonica and, mostly, the dobro guitar, Watermelon Slim played some blistering solos during his songs. I came to learn that there's only one country in the world that produces dobro capo's and that there are two companies in that country. I'd personally never seen one before. With the guitar in front of him lying on its flight case harsh sound were pulled out of it, like musical allegories for the harsh sides of life in general and personal hardships in particular.

The show came to an end with a sad story of a girl who died at the age of 22, the daughter of a musician called Ronnie Mack. Now I can only find one Ronnie Mack, who died in 1963. That aside, it was a beautiful jazzy blues cover showing how well this band can really play together, including a fantastic solo from guitarist Jake. I was astounded by what all of a sudden and out of nowhere came from his Telecaster, as I was by the subtlety The Truckers were also capable of. There are more sides to Watermelon Slim & The Truckers than I had thought.

In short, it was the right decision to go deep into the blues on this Wednesday night.

(All photo's by) Wo.

Gunther Brown live. Q-Bus, Leiden 23 April 2017

"The best hot water ever"

Gunther Brown? Now what kind of a name is that? Bernie Gunther o.k., for those familiar with the Philip Kerr character. Gunther Brown is a band from that other Portland, in Maine. Clamchowder territory, fishing on the rough coast of Maine. That sort of thing and a band playing roots music of a rather refined sort.

Thanks to Erwin Zijleman, our blog's expert in things roots, I had heard the name before and most likely took a listen on Spotify at the time. When I read the band had come over to this country for the first time and was playing in one of my favourite places to see bands, I knew where I was going this Sunday evening. Unfortunately for Gunther Brown only about 19 other people were so inclined. In a city of 110.000 + inhabitants and I'm not living there any more. The other 200 something that fit into the Q-Bus missed a fine show.

Five man on stage. The kind that could be your neighbour and in different age groups as well. Caps and hats in abundant supply. In the very first song, don't ask for songtitles as I did not know a single one before the show, things sounded so fine. The band rocked, the drummer incorporated a cowbell in an innovative way during his drumming. The bass player was one of those extremely solid ones, who in the meantime produces some fine melodies here and there and a lead guitarist who did not play one note beyond what a song takes. Of that notes every single one was the truth and nothing but the truth. The second acoustic guitarist from the second song onwards proved to be an harmonica player, spiking some songs and soothing others. On top of all that the singer laid his melodies with a fine sounding voice, with this rough edge, giving this sort of music the right kind of authenticity, joined in harmony by one or two others together or alternating singing duties.

We heard country ballads, rocking songs, a square dance tune about Jesus and the devil and everything in between. The fun part or at times the surprising part were the intermezzos within some songs. One song even went into a Pink Floyd like progrock sequence, before returning once again to rootsy music. Other songs held stranger rhythm changes as an interlude. Playing with the audience just a little and test them. The cover of Neil Young's 'Old Man' showed where the love for this music all started for the members of Gunther Brown. The real surprise was, that 'Old Man' was familiar but not a lot better than most other songs. If there is a difference it lies in the licks on the lead guitar.

The evening was over before I knew it. 20 people in front of you must be a disappointment if you come from such a long way. On the other hand I had the impression that they won over 18 of that 20. The other two sat at the bar and left early. After the show I met singer-guitarist Pete and we discussed the world in 20 odd minutes. Times could be just this little less interesting, we both agreed on. Gunther Brown should not be though. No, I haven't heard anything new yesterday, but what I heard was played so well, with enthusiasm and the songs are so refreshingly good, that newness is totally beside the point. Gunther Brown is a great addition to my roots collection.

(All photo's by) Wo.

You can listen to 'Norridgewock' here:

https://www.youtube.com/watch?v=pktELjGFY7I

Rockin' shoes. The Imperial Crowns live. Q-Bus, Leiden 6 April 2017

For some good old rock and roll, rhythm and blues with a shot of soul and gospel, The Imperial Crowns is your band. Led by the enigmatic Jimmie Wood the band trunches on every rock and roll cliché in the book. Chews it up, spits it out and comes up with its own surefire blend. So recognisable yet so good and so much fun.

It's been years since the band played in Leiden. 12, I was told. Chances are I was there. Man, was my life different then, but that may be the case for most people. It's such a long time.

The band got back together as things go with some bands. Whether because the drummer gave everyone a call or because someone told Jimmy and guitarist JJ, that their band meant so much to him or her, is unclear. Both stories were told in one go. Fact is they were back at the Q-Bus and tried to lift the roof and all but succeeded.

You have to deserve it to wear rock and roll shoes and if there is such a band, it is The Imperial Crowns. From the very first notes the band started a steam train rolling that did not stop before it crashed head on at the end of the line. There's just no holding back. A lot of preaching is going on, but all about the temple of love if not pure lust. Jimmie Wood swerves like a dervish in front of the audience, as if James Brown in his earliest fame. Backed by the, by comparison stoic, JJ Holiday on guitar, the man called Billy Sullivan who keeps the pulse and the beat of the band going and youngster Daniel Aguila on bass. (It's a good guess what kind of music he grew up on playing. My guess is math metal or something, as he obviously can play anything.) The groove they lay down provides the background for everything Wood wants to do. Sing, blow the harmonica, dance or talk his talk. Even a little rhythm guitar. It allows him total freedom to mesmerise people and get them all into that The Imperial Crowns groove.

Strangely enough that groove brought back a memory of a movie I saw on tv in the late 80s. Was it called 'The Big Beat'? I can't recall. All original U.S. Rhythm and Blues artists and then The Rolling Stones, the reason I watched the film to start with. James Brown played before The Stones. 'Please. Please, Please' act and all. It's 1964 and The Stones still had so much to learn. It was almost pathetic watching Brown and then the copying white-nosed lads from London. To come back to that groove. That is what The Imperial Crowns have down so well. Add the show and things just can't go wrong.

It seems we had a first ever. Before the encore Jimmie Wood noticed that he forgot to put on his belt. Well, did you evah? Of course it contained the finest rhinestones when he came back on. One could also admire the fact that he can still wear pants without the need for a belt. It's just how things are perceived.

Yes, it was 12 long years living without this groove. But as the person said, you guys do not realise what you mean to me. That made the band realise what the band and its audience means to them. The Imperial Crowns, I'm afraid will never get rich from their music. I do hope that it makes them come by comfortably enough to enjoy what they do for a long time coming. The world needs bands like The Imperial Crowns. Just to make it feel better every once and again.

(All photo's by) Wo.

You can listen to 'The Calling' here:

https://www.youtube.com/watch?v=QRs5cxE32pc

Chuck Prophet & The Mission Express live. Q-Bus Leiden, 23 February 2017, with Max Gomez

Was it the third or fourth time Chuck Prophet played the Q-Bus and if so when was the first time? Band and audience discussed for quite some time. From the first time I remember it was the first show of the tour, after picking up gear in Rotterdam's harbour and band members being really bothered by jetlag. There was the show that the band played too loud so that the mics were cut off from the sound system. Then there was a perfect show after 'Let Freedom Ring' and a mysterious email correspondence with my son in 2012 on a Q-Bus show that apparently never came off. Otherwise it would have been five. Fact is, I was present at all four. And again, Chuck Prophet and The Mission Express treated us to a true gift in the celebration of rock and roll in the widest sense possible.

Of course the show opened with the title song of the new album, that delightfully named 'Bobby Fuller Died For Your Sins'. Sweet irony. Especially in combination with that other great title on the album 'Jesus Was A Social Drinker'. It wasn't hard to spot the fun Chuck Prophet had singing these lyrics. Prophet is one of the songwriters in rock today who still has an eye out for society in general and the unfortunate circumstances of his fellow man in particular. Like in 'Barely Exist': "When you barely exist, who's gonna miss you when you're gone". At the end of the show, the encore opened with a song by Bobby Fuller, closing the circle for the evening. Time to check the guy out!

Chuck Prophet and his band know every rock and roll trick in the book. His work is full of famous licks and turns. And then come all his own. Some great riffs, fantastic little melodies in between a chord change, some great guitar solos alternated between himself and co-guitarist James DePrato, who plays some mean and subtle slide guitar as well. At this point into his music it all seems to be without effort. As if these songs have always been there. In perfection laid on his doorstep. Probably the sign that a lot of work and effort went into the conception and especially the arranging of the songs.

Perfection. I'm touching on a word here that describes best what was going on in Q-Bus. This band is so good and the songs so right. The recurring feedback problem, was the only mishap of the evening, beyond the band's control. Chuck Prophet & The Mission Express played a perfect set and from my audience perspective flawless. The sound mix was perfectly balanced. As they say the band was steaming and the audience, very and beyond middle age, enthusiastic. Which clearly went both ways, inspiring both time and again.

Again 'You Did (Bomp Shooby Dooby Bomp)' was one of the absolute highlights of the show. Where on record, already from 2004, years older than I thought, it isn't even a very special song, on stage it becomes a beast. With its lazy rhythm, audience participation in the "You did" part, great solos and the bluesy "I got a letter this morning" switch. It goes on for hours it seems and not one second overstays its welcome. One big smile and moving of body parts to the rhythm.

This is one way in which Chuck Prophet honours his inspirations. The second is in 'Bad Year For Rock And Roll' in which he commemorates some of the departures from life in 2016. Through a cover by Leonard Cohen he made it even more tangible. Drummer Vicente Rodriquez switched to keyboards and got to make a nice introduction, if his mike had not been stolen away from him. Nice joke. My face as well as Chuck's is starting to show why we are losing the heroes we grew up with and inspired us to listen to music and make music. The kind of music that comes out so well in his own.

There seems to be no occasion any more where an American artist does not feel to have to apologise about the politics in his country. Whether on the building of walls, emigration, the big, white, very angry man in the White House, Chuck Prophet was no exception. During 'Wish Me Luck' I thought for a minute that he has the right family name after all. "Amen", praise the free spirit and decency. Wish us all luck. Yes, we live in interesting times. Time will tell what is up next.

The show that lasted for about two hours was preceded by an artist from Taos, New Mexico called Max Gomez. One man, one guitar and a lot of technical problems on the stage itself. Although it's been a while that I visited Q-Bus, it wasn't the first time that a solo, acoustic guitar has sound problems. So what is the cause? Gomez treated us to some fine singer-songwriter tunes and stories. The highlight was a song that no producer he worked with wanted to record, but he thinks is his finest. The bluesy song, I can't recall the title, sparkled, sizzled and was played with a great attack. Indeed the one that stood out. It is hard to stand out against what is to come up next. "Who has ever seen me before?", Gomez asked rightly. One hand went up somewhere in the back. Still, it wasn't hard to notice that a lot of people gave Max Gomez their attention in a well-willing way. The right thing to do, as he played a few fine tunes and had some nice stories in between. Let's hope Trump does know his geography for the sake of you New Mexicans. And Taos? Well, Max, there's this song by R. Dean Taylor. Perhaps a reason to cover it?

Coming back to Chuck Prophet. Veni, vidi, vici, those famous three Latin words cover it all. The rest is just me not resisting to write some more.

(All pictures by) Wo.

Steve Waitt live. Q-Bus Leiden, 24-03-2016

Photo: Wil Nievaart

Like the tweet from the Q-Bus account tweeted: "Worth Waitting 7 years". Over six years ago Steve Waitt performed at the same venue, solo, making a lasting impression on this writer. After that silence and the musician slowly slipped away from my conscious. His album somewhere among that wall of records, like the buried books in the mythical library imagined by author Carlos Ruiz Zafón. All that came back to life with a single news letter: Steve Waitt and band to perform in Q-Bus. Out came 'Blue Parade' and entered 'Stranger In A Stranger Land', reviewed recently on this blog.

A story on a show by Steve Waitt starts with his voice. Supple, with a hint of roughness, concealed by a layer of honey. Steve Waitt is a great singer, with total mastery over his voice. His singing seems strainless. It sounds so easy. Even at the end of a twenty show tour things, at least from the outside, seem like a piece of cake.

The compositions have been discussed on this blog in the past weeks. 'Blue Planet' received an online re-run. That is not the whole story though. There were so many magical moments in which it all seemed to come together on stage. The four men were able to play with the compositions, making the most of those moments where dynamics within a song can be used to the max. Dropping the volume to come back in with a loud snap on the snare drum, by the appropriately nicknamed drummer "Crash". Waitt playing solo, with the band slowly coming in. Although these are totally normal musical tricks, in a small venue with a totally attentive audience, they work like a dream.

Photo: Wil Nievaart

Steve Waitt's band played immaculately. Guitarist Greg Tuohey created sounds that I don't ever remember coming out of a guitar before. Not unlike Geoffrey Burton with Sophie Hunger. Tuohey has to work harder though, as he is the single guitarist. Released from his role as accompanying musician he played a few blistering solos. At other moments he laid down beautiful atmospherics under the piano of Steve Waitt, using all of the guitar, body, neck, strings and a load of effect pedals.

And here I am, not in general a fan of piano based pop rock, liking Steve Waitt's music not just a little. His mix of classic 70s pop rock, indie/alternative rock and jazzy ballads work really, really well. Not unlike, and here she's mentioned again, Sophie Hunger. A duet between the two artists ought to be only a matter of time.

Superb sound, once again, in the Q-Bus gave the show the finishing touches. A sound so clear is an audience's dream and all a musician can hope for.

Hearing what I have heard this Thursday in Leiden, a bigger audience ought to be a matter of time. The several dozen present were all convinced: this was a great show by a great musician.

Wo.

You can listen to 'Hey Pretty Baby' here:

https://www.youtube.com/watch?v=Z20gjFyvvAo

or buy on Bolcom

Stranger In A Stranger Land. Steve Waitt

Steve Waitt and his music were all but from my consciousness. His November 2008 show in Leiden was more of a feeling related to spine-chilling moments during his show than any clear remembrance of the music itself. His album, 'Blue Planet' I hadn't played for years. The show was always there though as one of the most impressive I've ever seen. Now a new album. Were there others? I just don't know.

Promo photo

Listening to Stranger In A Stranger Land the Steve Waitt mood comes to me easily. His voice is, again, where it all starts. Extremely pleasant, without being average in any way. It has this edge of harshness, a rasp that gives it some meanness. The combination works wonders for me.

Around Waitt is a tight sounding band with which he also tours. Together they create a at times hard beat, moving far away from the solo piano songs of the 2008 show. In the 80s there was Bruce Hornsby, but where after two songs beyond his only and number 1 hit, 'The Way It Is', I had to suppress some heavy yawns, with the fourth song into Stranger In A Stranger Land the fun is only starting. 'Stranger' is a ballad disguised as a rock song, that has the beauty of 'The Way It Is' while having this edge that makes it so much more interesting. 'Stranger' is simply much more powerful and rocks out with hard hitting drums and a turned up organ. Steve Waitt remains unperturbed, surfing the sound waves with his voice like a master surfer.

Promo photo

How good the songs of Steve Waitt are and how much I like his voice is shown by the fact that his music touches me directly, where other singer-songwriters fishing in this pond do not touch me at all. Songs in which pop, singer-songwriter and rock meets hints of jazz. Say James Taylor, David Crosby, Christopher Cross. And the winner is: Steve Waitt. Together with his band he lays down an atmosphere that is more colourful, at times exciting and full of tension. That has to do with the alternative style guitar playing and the forceful drumming, that give his music something all those others don't have, an alternative rock edge. It is only in the carnival show like music of 'Lily Rose', the song that ends the album, that the mood changes and New Orleans enters the electric piano ballad. Something completely different, but a great, stranger ending. (And then the mystery track really ends it all, and all I can do is listen in awe.)

With Stranger In A Stranger Land Steve Waitt lays down a beautiful next step in his career. A step that took him eight long years, which is too long, but that is the way things are. The album is here and just begs listening and attention. There's only one Dutch show booked and it is in my favourite venue in Leiden, at the Q-Bus on Thursday 24 March. I'm going to be there and it would be a smart move if you'd be too. Magic exists and I've encountered it at a Steve Waitt show.

Wo.

You can listen to 'Jump The Gun' here:

https://www.youtube.com/watch?v=ZsC0TPo31mc

or buy on Bol.Com

Guy Forsyth. Q-Bus Leiden, 30-04-2015 with Maximum Overdrive and Bag of Bones

Photo: Wo.

And so the curtain dropped for the Q-Bus, that little hideaway with the nearly always perfect sound in the city of Leiden. The city council decided that with the coming of the new venue Gebr. de Nobel, there was no longer a need for this stage. There is a future though on which more later.

What a final night it was. On the former Queen's Day Hans van Polanen staged Austin, Texas', finest Guy Forsyth. I have seen Forsyth in his younger years play LVC like a storm, in a solo performance in the Q-Bus and now as a middle-aged gentleman who still likes to serve a blazing hot blues stew.

Larger than life. Photo: Wo.

All things Forsyth start with his voice. The Theo van Es potato rasp is there in the right dosage. Or Tom Waits of course. It's easy for him to do an impersonation, but the fun is that he does not need to overdo it. His voice is fabulous for this sort of music. The second feature is his harmonica playing, distorted, howling, pleasing, alluring and seducing, it's all in there. On top of that Guy Forsyth is a fantastic performer, who's large arm movements and facial expressions add to the show. He knows how to tell a story as well. Finally, at that point it was something that I nearly overlooked, had he not grabbed a guitar for two songs: he's a fantastic guitarist, probably better that Dave Hernandez, his guitarist for this tour. The major surprise was kept to the near end of the show. The guy can play a singing saw too. Is there something he can't do?

A 1st (and last?) in Q-Bus? Photo: Wo.

I remember seeing Forsyth playing in Q-Bus before. He played after a support act, that totally impressed me, but I can't remember for the life of me who or what played. I remember thinking how is a guy alone ever going to top this? Forsyth started with a blues holler, footstompin' the time and singing in a way that blew the whole room into silence. What a voice! That voice was there again. So terribly impressive, leaving hardly any memory of the bands playing before. This guy has such a stage presence that it is nearly unimaginable that he's not playing the larger venues in this country and the rest of the world.

All sorts of blues came by. From the sped up Texas blues, to the soft styled T-Bone Walker and even some Frank Sinatra smooth singing blues. Guy Forsyth and band can take on all without a problem. The Q-Bus rocked on its final evening. The audience consisting mainly of middle-aged, greying and/or balding gentlemen had the time of their lives.

Forsyth is touring to his latest cd, "for those who still buy them". 'The pleaser' contains a lot of nice blues tracks worth checking out for sure.

Photo: Wo.

Maximum Overdrive, a Leiden based band that starts its playing with all things Guns 'N' Roses and takes it from there. A cover or two graces its set. The singer has a real voice for punk rock and alternative rock songs. A foghorn should someone ever need one. He's your man! The bass player plays these fantastic runs in the songs that made me forget that there was only one guitarist in the band, where two is more common to fill out the sound in abnds like these. The drummer, great beard!, played in a soft, almost jazzy way, totally at odds with the music. The explanation may be the sound limit the Q-Bus has due to its neighbours. Maximum Overdrive is around for over 20 years and that shows. Very competent at building a party with its music.

Photo: Wo.

Bag of Bones is a band from Den Haag. Jimi Hendrix and jazz-rock style instrumentals are its thing. Although the individual band members are all quite competent on their respective instruments, things never came alive. Endless soloing over marginally interesting themes are just not my thing. 'Born under a bad sign', that fine electric blues song by Albert King and many others, got an extremely strange rendition. The solo half of the time touching on notes that seriously got in the way of the melody of the song. Weird. Sorry, gentlemen of Bag of Bones, songs without lyrics are just not my thing.

Wo.

You can listen to Guy Forsyth's 'Carried By Six (Pop's Blues)' here:

https://www.youtube.com/watch?v=Fhi52WAa-jE

You can order his cds here:

http://theconnextion.com/guyforsyth/guyforsyth_cat.cfm?CatID=104

or listen to 'The Pleaser' here:

https://continentalrecordservices.bandcamp.com/album/guy-forsyth-band-the-pleaser

The Maureens live. Q-Bus Leiden, 10-04-2015

Photo: Wo.

 An incredible small amount of people showed up for an incredibly fun band. If the colleagues of keyboard player Bas hadn't showed up, we would almost have been the only people in the room. Announced as a try out gig for the new album, The Maureens played like they should and have fun as well.

That afternoon I listened to The Maureens on Spotify and liked what I heard. Not exceptional, but certainly good. Pop with an indie variation on an alt.americana kind of twist and a lot of singing, singing and singing. During the show I thought to hear The Jayhawks half of the time. There was one major difference: The Jayhawks were so boring on stage that I left early opting to catch the last train instead of depending on the night train. (Somewhere long ago in the mid or late 90s, in the days before WoNo Magazine.) No such problem with The Maureens. No problem at all.

Photo: Wo.

If anything the band knows how to write a pop song and also knows where the harmonies are in a song. as my girlfriend said: "The fun things you can do with just an ooh or aah". Courtesy of Bas on keyboard. Bas van de Looij en Hendrik-Jan de Wolff (there appear to be two Basses in The Maureens) write the songs and sing the double vocal lines. Yes, in The Jayhawks style, but also The Everly Brothers are a clear influence on the two. And TMGS, my dear Belgian friends, were hidden in the mix also. Listening to the two and three voices intertwine on stage was a sheer pleasure.

But there's more. With three guitarists in the line up a lot is possible. From the most delicate lead lines to vast eruptions all over Hendrik-Jan's rhythm guitar strumming, all came by. Underneath that all is a tight rhythm section and weaving in and out of it all is the organ. Together The Maureens create a playful sort of music that is great to listen to on stage.

Photo: Wo.

And there's Dolly. If you look in the background of the first picture you may just find out what I mean. Dolly the mascot of The Maureens can be found on stage.

Not all was well, as there were a lot of small mistakes, none that stopped the show, but mistakes none the same. The may a be an explanation though. Looking at the photo's on the website of the band, I'm under the impression that 50% on show there was not present this Friday night. Absent or replaced? That may count as the reason as well as an excuse. Still, that has to be better come September. On the 12th the new album is released with a party in Ekko in Utrecht after which the band embarks on a fall tour. Something to look out for.


Wo.

You can listen to 'Early June' here:

https://www.youtube.com/watch?v=HsHbNenJPXI

Royal Parks live, Q-Bus, Leiden 10-04-2015

What is a good reason to go to a concert? A band that names itself after the given name of my mother was good enough (after a listen on Spotify admittedly). And just to make sure there are no misunderstandings, no my mother's name isn't Royal Parks. Royal Parks played a duo show with The Maureens and came as a bonus to me and what a bonus it was.

The Q-Bus is threatened with closing, in three weeks time actually. Has the venue become redundant with the opening of Gebr. De Nobel or can it have a parallel existence? I personally believe it could, as the sort of shows that are put on stage, I do not see happening in De Nobel. Too small and too unknown; but then, one would never know if it wasn't tried out first. The problem is that if it fails the alternative is gone. So a hybrid period of a year? That could be a way out, if fully supported by the town council and all concerned. Fact is, I've seen some magically good shows in the Q-Bus by artists I had never heard of and would never have travelled anywhere else to go and see.  That is what makes the Q-Bus unique for me and many other people that come there, all in combination with the ears and enthusiasm of Hans van Polanen. A tremendous shame if that would go to waste, but then all good things end somewhere. Back to music.

First on stage was Royal Parks for a singer-songwriter show of his songs. Royal Parks is Diederik Nomden a musician with a track record in a supporting role for artists like Johan, Daryll Ann, Awkward I and Ellen ten Damme and played in an earlier incarnation of Alamo Race Track. To sum up: Excelsior Recordings almost the whole way. He finally came around to make his first solo album called 'Royal Parks' in 2012. If anything the record proves that Nomden was ready for this step.

Royal Parks performed his songs in Q-Bus as a solo artist, playing either acoustic guitar or electric piano. In both contexts his songs came alive. His voice is extremely pleasant to listen to. Warm, firmly soft, with enough power behind him. In the right circumstances it might even be soothing.  His stage presence is of a pleasant kind of modesty. The surprise every time that he had to switch instruments was either nicely acted or totally genuine. So I decided to opt for the latter version.

It is always hard to really judge a performance when listening to songs for the first time, but with Royal Parks I can tell you that they convinced from the very first. It even went so far that I agreed with my girl friend that Royal Parks did not need the two covers he added to his set. 'Willin' by Little Feet and 'How can I hang on to dream'. Let me add that I was very happy to hear the last one. We are entering an age in which songs from that generation of musicians can only be heard live through others. Tim Hardin died years back under sad circumstances, while his songs live on through inspired performances like this one. May you play it always, Diederik!

Royal Parks did two important things last night in the Q-Bus, entertain and impress me directly and made me curious for his album, which I would have bought blind had he offered it there. He didn't though.

The encore the limited audience asked for was well deserved. He played 'She' for the second time, after having been asked directly to play his personal favourite song from his set, having introduced 'How do I hang on to a dream', the song he played last in his set, as one of his favourites. Nomden played 'She' this time around on guitar, making it come alive even more as it was played in a every astute, direct way, with a lot of accents in the right places. Royal Parks is working on his second album. A singer-songwriter to watch and looking forward to its release.

Wo.

You can listen to 'She' in a live version here:

https://www.youtube.com/watch?v=eTW472U0DXg

Esben and the Witch. Live QBus Leiden, 14 November 2014

Photo: Wo.

 Before Esben and the Witch took to the stage, there were other, more mysterious things going on. One guy, a table, loads of electronics and movies projected in the background. 70s Movies, I think. How anonymous can someone make music? Very, I learned. Twiddling knobs, finger settings like playing a keyboard, without the sound, I suppose to create a loop, pushing buttons to release a pre-recorded beat. Slowly but surely soundscapes were let loose on an uninterested audience. Just looking at the guy made my back hurt. Bent over deeply the whole time, becoming one with his knobs, while I watched the laptop next to the sound desk, where the projected film snippets, e.g. Burt Reynolds in a large 70s US car being chased by the police, played also. Not a clue who played, but Internet tells me Hunter Complex. Creating his own soundtrack to selected film clips. It was intriguing; let me stop there.

Next things got even stranger. Again one guy, one table, loads of knobs and one electric guitar. "My grandmother lives on a boat, with a horse", or something like that, in Dutch, while trying to play a monotonous riff on the guitar. It sounded so beyond help, that I couldn't stop myself from laughing.The song was stopped. Either the guy was pulling our leg or the electronics went wrong. After that we got beats in different shapes and sizes and a soft singing guy, in English. There were even recognisable melodies in the songs, at times. Who he is? Internet tells me Zeevonk.

Photo: Wo.

After the table had been cleared it was time for Esben and the Witch. This week the trio featured already on this blog with their latest album, 'A new nature' (http://wonomagazine.blogspot.nl/2014/11/a-new-nature-esben-witch.html). Esben and the Witch plays passionate music in an introverted way. Guitar Thomas Fisher, shaven head, big, dark-rimmed glasses and a beard growing towards ZZ Top proportions, half of the time is playing half turned, away from the audience, not making a connection once. Drummer Daniel Copeman is enraptured within his own rhythms and electronics that he manipulates on the side. So it's all up to singer/bassist/guitarist Rachel Davies, but she isn't a master of communication as well. So it's up to the music.

Of course I wasn't there for nothing. The music Esben and the Witch played was alright, but through a large part of the show I found myself waiting for that little extra, the spark that would make the show magical. My patience paid out, for from the moment Rachel Davies announced some old songs, that I'd never heard before that moment, things changed. Two guitars instead of guitar-bass and more electronics in the background. As one other audience member called it after the show: "it's like a fairytale". Now let Wikipedia claim that the band named itself after a Danish fairytale with the same name.

My opinion on the sort of music Esben and the Witch plays you find by clicking on the provided link, so there's no use to repeat that here. The intimacy of the music is something worthwhile to commemorate. Despite moments that the band goes all out, the main part of the songs are quite intimate. Up to a level that it is just Rachel Davies singing, with silences in between. As if daring us to speak or make some noise. Twice in all. During the first some less pleasant person just kept talking despite incessant hissing and a direct request to stop, the second time it was just silence. Total enrapture.

Photo: Wo.

A trio setting is always difficult to fill all gaps, especially when like Esben and the Witch a lot of the songs are based on atmosphere. Intricate guitar motives and complex drum patters. Patterns is definitely a better word than rhythm in this case. At times sterile vocal melodies, towards the monotonous. That leaves a lot of holes to fill. The class of Esben and the Witch is that they pull this trick off, as quite often they find the magic factor by using dynamics within the songs, by slightly changing patterns and the intenseness of Rachel Davies' singing.

Again the QBus surprised me with a band that good on its stage, the superb quality of the sound, but also the emptiness. How is it possible that so little people find their way to this concert in a town as large as Leiden is? On top of that the city council ordered it to close on 1 December. Where will all the practising bands go? No idea.

Wo.

Every day is judgement day. Blind Willies

Last year the Blind Willies played on a bill with Glossy Jesus and TMGS at the Q-Bus in Leiden. Re-reading my review, the band rather left me behind in confusion what to make of its show. "From ecstasy to boredom within two songs and back", that sounds like quite a feat. Recently singer Alexey Wajchman reached out to us announcing Blind Willies' new album. Here's is our review.

Every day is judgement day is a fifteen song, 57 minutes long album preceded by the single 'Big city'. The video was shot mostly in Amsterdam. Because of that element the song reminded me a lot of 'Big city' by Dutch singer Tol Hansse, a major hit in 1978 in NL. Not so much musically, although both songs are not your everyday sort of pop song, and certainly not lyrically. Where Hansse wrote a comical song about people you could (and can) run into in a big city, Blind Willies is always serious. 'Big city' is one of the lighter songs on this album, with a few moments of extreme beauty and subtlety tucked in. The first band that comes to mind listening to Every day is judgement day is 16 Horsepower. Blind Willies also has this devil on my tail quality in this collection of songs. 'Dig a hole' is one of the best examples of this. The slide guitar, the rhythm and the trumpet make the song sound hounded. Steely Dan is another reference. Blind Willies is not afraid of putting some jazzy elements into its music. Listen to 'Potential bag' and you hear the more acoustic version of a song like 'Kid Charlemagne' or 'Any world (that I'm welcome to)'. And an observant listener can find three signature notes from there 'Goldfinger' as well.

The title song at heart is a blues, again like some of Steely Dan's songs are. It shows a blues can be played on a piano riff and a cello as well. 'Every day is judgement day' becomes convincing when Blind Willies shows its great use of dynamics in the song and not just because an electric guitar kicks in hard at one point (although I would not be surprise if its a violin through a distortion pedal).

Musically the band is hard to place. American folk rock is the name associated with the band, but listening to this album the music goes way beyond folk (rock). There is a faint hint of klezmer/eastern European music. In such there is a faint link to Gogol Bordello or Kaizers Orchestra and De Kift. There is some some straight rock infused into the mix, like there is some jazz and blues as already mentioned. It seems to me more a complete melting pot of influences an American artist is exposed to in the U.S., with the clear exception of rap, dance and pure country. For the rest a lot can be found in the music of Blind Willies. The band name is a homage to blues singers from the 1920s and 30s with "Blind" before their name. That gives away the foundation of all.

Blind Willies is around since 2007 as a duo, releasing two album since 2008. Since 2011 Blind Willies is a band consisting of Alexei Wajchman (voice and guitars), Misha Khalikulov (cello), Daniel Riera (flute, bass), Max Miller-Loran (keys, trumpet) and Alex Nash (drums). Every day is judgement day is the band's second album as well, making four in total under the name Blind Willies.

Every day is judgement day is an adventure of an album. Each song is a story with a lot of lyrics. In that sense I would not be surprised if Wajchman comes up with a novel in the future, like Richmond Fontaine's Willy Vlautin. The extremely cynical 'Cremo tango' is a shocker of a song. "Ladies and, gentlemen, this way for the gas" to a background of sunshine, tango's being played and a few people apparently having a good time as well. "42 Jews" continues in this vain, although more covert. Just a counting down number of oppressed people, death and "the righteous men". The lyrics are as intense as the music. A great song! Every day is judgement day does become lighter and more personal as well, somewhere down the album, but attests to past and present major wrongs in a strong, committed way and can be called a protest or political album.

Musically it is an adventure as well. Remembering the way I was swung back and forth that evening in Q-Bus Leiden, I'm rather surprised by the constant level of quality on Every day is judgement day. No matter how diverse the songs are from a musical perspective, all are good in their own way. A lot of different things happen and different sounds come by. From extremely subtle 'The possible world' to the more exuberant 'Big city' or the very intense '42 Jews', Blind Willies is able to give most of its songs a unique musical stamp. Warm organs, screeching or subtle strings, a fine piano or a raging electric guitar, all is possible on this album. 'Big city' is linked to below, which is kind of a shame, as it is not representative, in sound, not quality, for the rest of this album. So look up the rest yourself, as the album is released today.

One point of critique? If I'm forced to name one, it is that I would have been happy with a 12 song album. Every day is judgement day is a few songs too long to keep my full attention. 'Steal away' doesn't manage that when I'm nearly 50 minutes on the way. Perhaps also just a little too much Paul Simon solo to my taste? That is all, so I would not let myself be put off by this critique, dear reader. Every day is judgement day is an album that begs checking out.

Wo.

You can listen to 'Big city' here.

John Paul Keith & The One Four Fives. Live Q-Bus Leiden, 25 April 2014

1,4,5's. Photo: Wo.

After the surfrockers of Hyperblaster Surfcowboys had finished, the podium was reshuffled a little for the second act of the evening at ‘Hail to the king’ night in the Q-Bus in Leiden. John Paul Keith and the One, Four, Fives took to the stage. Also guitar, bass, drums, but with three microphones that were used for singing as a main difference. The second difference was that the variation in JP’s repertoire was a lot bigger also. The similarity lay in the fact that the set was comprised of songs styled in ways that are long over in 2014. There were a few covers in the set, Freddie King’s ‘Hideway’ (or I’m nearly sure, as all these instrumentals sort of sound like each other), ‘You devil you’, which sounded very familiar ('You angel you'?) and the song that ended all fun on this night, Billie Swan’s 1975 #1 hit ‘I can help’. I hadn’t heard the song for years, but could sing every word and realized: This sounds like a Paul McCartney song so much. I’d never noticed that before. And here we get to one of the strong points of John Paul Keith. (And why did his parents forget Mick?, unless John Paul is after the two popes of course.)

JPK. Photo: Wo.

On record, I only knew 'The man who time forgot', his 2011 album before the show, John Paul Keith goes off in many direction. From Buddy Holly to straight country, to rock and roll or The Beatles. Anything goes, but sometimes too wide to my liking. The real country stuff, mwah. This made me a bit awry before the show started, as the show could have gone off in any direction as well. My apprehension was taken away almost instantly. In trio setting JP Keith mostly rocks. There is no escape in this trio setting of guitar, bass and drums. Again the songs themselves may go off in several directions, but all are played in a solid way. With some great guitar soloing going around.

Just when the band had finished a great rockballad sort of song, my companion for the evening said to me: "The show is having a dip. This is not my sort of music". Just then the band kicked into a Chuck Berry kind of rock and roller and we both did not look back. Limbs were moved around! In other words a great build up of the set.

1,4,5's. Photo: Wo.

In a sense John Paul Keith is an anachronism. With songs and sounds that could have been created 50 years ago and more, his musical taste is not from today. Ricky Nelson and Buddy Holly, Chuck Berry and The Beatles in its first years. As all four are no longer active (or alive) today, there is a market for these songs. Ludwig van Beethoven is still played, so why not new songs in an old idiom. Especially as they are as pleasantly good as the songs John Paul Keith writes? Listening to a The Beatles kind of song, with at exactly the right moment the right extended or diminished chord, is so much fun. Spine tinkling sometimes.

That leaves me with mentioning the two members of The One Four Fives, John Trahey on bass and Brian Wells on drums, who both do some backing vox in the right places. Together they create a very tight show, partly down memory lane and partly in 2014. Anyone enjoying rootsrock, rock, pop and beat, can't afford to miss a show by John Paul Keith and the One Four Fives. Don't hold your breath, but expect a review of John Paul Keith's last album 'Memphis Circa 3AM' soon as well.

Wo.

You can view John Paul Keith's 2012 show at Q-Bus, Leiden here.