KK’s Steelmill – 16/16/23
Tonight at at KK’s Steelmill was set to be one special night. A chance to see not just one, but two of the greatest guitarists out there. Richie Kotzen who is with the headliners ‘The Winery Dogs’ and supporting, modern day guitar legend and the next generations guitar hero, Jared James Nichols.
At 34, Jared is one of four people to be named ‘Gibson Brand Ambassador’ – sharing the accolade with guitar heavyweights Slash, Lizzy Hale and Dave Mustaine. Watching his 40 minute set, you can see why. He was amazing!
Playing a 52 Les Paul, ‘Dorothy’, kitted out with P90 pickups, his tone was to die for. The seven song set list was mainly drawn from his latest album, self titled ‘Jared James Nichols’ and was full on, high energy, balls out rock and roll. 2020’s ‘Threw me to the Wolves’ might even be considered the ballad of the night, it had a great solo, but you can’t single one song out as having a ‘great solo’ – every song featured a solo, each a little bit more epic than the last.
The set came to an end all too soon, ‘I’m just warming up’ Jared exclaims! He announces that the final song is a cover and will either result in a huge fight, or everyone buying him a beer; but he’s going to give it a go as it’s ‘close enough’ – Sabbath’s War Pigs and what a rendition! Again, stunning! This set was a little taster, as he teased a uk headline tour in October – well, he blew me away, I’ll certainly be there!
Onto the headliners; The Winery Dogs. As Dave once said, “There are Groups, there are Supergroups and there are Superdupergroups”. If you don’t wish to know which category The Winery Dogs fall in, then please look away now.
Pound for Pound arguably the greatest trio on the planet, each member a virtuoso in their own right and at the very top of their game. As the lights dimmed and the intro faded, Billy was the first to appear and was met with a huge roar from this packed, not to mention highly expectant Wolverhampton crowd.
‘Gaslight’ is a lift off. Incredibly fluid, not to mention dexterous six stringing, equally adroit 4 stringing and the thunder emanating from the rear. The ‘mirroring’ of the lead by the bass is a major contributory factor in giving The Winery Dogs their immediately identifiable sound.
‘Xanadu’ directly follows and continues in similar vein. The vocals were slightly low in the mix on the first song but this has now been rectified. The solo was the first time that Richie stretched his fingers, giving us just a taster of what was in store.“Maybe I just don’t give a f*ck cuz I’m in Xanadu”. Boy are we ever and we’re only just getting going.
“Think it’s time we checked in with an old friend – Hit it Mike!” Imagine if Sammy H fronted AC/DC – that’s what ‘Captain Love’ sounds like. Probably the simplest riff of the evening and a crowd favourite. “She’s messing with a lot of things, a lot of things and now she turns it up!” We are motoring!
The heavyweight funk of sophomore album title ‘Hot Streak’ has the kind of knotty riff that will either inspire fledging guitarists or cause them to just give up. Underpinned by Billy’s unique bass sound, it affords each member the opportunity to exhibit their complete mastery over their instruments.
“I’m tempted by the heat of desire”. ‘Desire’ is such a sassy strutty singalong “You bait me like your victim for hire”. Imagine if the wee purple one had further explored his Little Richard…..and turned it up! Guitar solos? Who needs them when you have Mr S on bass. Yet another masterclass.
‘Breakthrough’ is an extremely well-crafted slice of captivating modern pulsating AOR. I wondered whether it would be appropriate to state ‘that things can’t possibly get any better than this’ at this point, but boy do they ever. “I’d go behind and change the tide, but where do I come from? ‘Time Machine’ commences with a more measured AIC style riff and the initial vocal sees a much deeper tone utilised before the whole piece builds into a frenetic climax.
The way the instrumentation and vocal harmonies combine to produce such a full sound, it’s difficult to believe that there are only three guys up there. One of the absolute highlights.
‘Stars’ is the perfect successor. Its laid-back groove necessitates a rare guitar change while the number invokes images of a leisurely cruise down the PCH with the top down. The bass line pumps continuously in a nigh on mechanically fashion and is interspersed with regular bursts of acceleration as Richie hits the gas when he reaches the open road. In the closing segment Richie even introduces some improvised jazz like meanderings with a suitably scatty vocal over the top. A perfect jam which generated much deserved applause.
After the previous workouts, ‘Damaged’ sets a more muted, reflective tone. “Yeah, it’s the damage from the light that one time used to shine on me”. A deliciously restrained abridged solo to complement it too.
A most modest drum solo by Mr Portnoy’s standards introduces ‘The Other Side’ and sees us back at the gallop. Its latter vibe briefly returns to the ‘Stars’ mood, includes some Geezeresque doodlings from Billy and even a flourish of SRV from Richie. Looking around, it was noticeable just how many people were paying proper attention. I for one was totally absorbing it.
Bass Solos are often usually good opportunities to head to either the bar or the loos, but this is Billy Sheehan we are talking about here, the absolute Ace of Bass. The simplest and closest comparison I can make to experiencing this consummate exhibition was like listening to Eruption played on a bass. Utterly mesmeric.
No self-respecting RnR band should be without a drinking song, especially a band that has alcohol in their name. ‘The Red Wine’ morphs into an extravaganza. The extended, extended outro, the musical equivalent of a blissful alcoholic haze.
“Can you get me back on my feet? Can you make me think that my mojo is rising?”
More introspection and self-denigration in the form of ‘I’m No Angel’. The riff is an absolute earworm. I can still hear it as I draft this. ‘Oblivion’ does more than any other to capture the spirit of Mr Big, an outfit Messrs Kotzen and Sheehan were in together for 3 years. Mike’s drums are a huge tip of the hat to Pat Torpey (think Colorado Bulldog). One thinks the late Mr T will be looking down approvingly.
Another signature ‘Dogs tune that brings the main set to a close. “It’s time to be a man. And face all the time that I spent losing you. How could I know I would regret?” ‘Regret’, another mellow reflective piece may seem an unusual selection to begin the encore.
Richie’s keyboard intro is most evocative of Harold Melvin and The Blue Notes, ‘If You Don’t Know Me By Now’, perfectly illustrating it’s soulful roots. At this point, one has to comment on Richie’s vocal style. Often plaintive and possessing sensitivity and vulnerability, there are obvious soul influences at play. I was surprised to discover that he cites Terence Trent D’Arby as his first vocal stimulus.
Back to the song, the piano led piece was just the precursor to heading off into extravaganza territory as Richie reverts seamlessly to guitar. If ever a song needed a Gospel Choir to add in the background then it’s this one. Loved the way he emitted a knowing smile when he hit a Les Dawson note very early in the piece!
After that, it was time to finish on a high, if you’ll excuse the term, with ‘Elevate’ “Elevate me, take me higher, I don’t wanna be wasted”.
As they took their well-earned bows, it was delightful to see Billy offering his bass to an audience member and motioning for them to hit it. “Yes, go on, hit it, I mean it, hit it” may well have been the exchange. An extremely well-balanced set, showcasing not only their undeniable technical proficiency but also the quality songwriting which has so far produced three outstanding albums.
Elevated I was, high on the music and the most impeccable playing. Only downside was that it had to end. I have always wondered what the most appropriate vehicle for showcasing Mr Kotzen’s many notable talents is.
Is it solo? His band, his rules.
Or is it with good buddy and fellow axeman Adrian Smith?
Or is it like here, in an immaculate triangle of virtuosity?
After this evening’s exhibition, I would personally suggest the latter. Mentally noted as a potential ‘Gig of the Year’, Experiencing and wholly absorbing it merely ratified that. Now where did I leave that Time Machine? Set The Controls for the Heart of Two Hours Ago.
Review and pictures: Sophie James
