Gig Review: Joe Bonamassa – Motorpoint Arena, Cardiff (22nd April 2022)

Arriving at the Motorpoint Arena a good 30 minutes before start time, the buzz in the venue was palpable. Joe Bonamassa’s sixth visit to Cardiff may have been delayed by the pandemic, but the near-capacity audience were very much ready to pay homage to possibly the best guitarist that the blues has seen in the last two decades. We would be well rewarded.

(c) Mike Evans

With a huge discography to select his setlist from, Bonamassa and his fabulous band played a set that included many a fan favourite. A subtle and never over the top production ensured that the focus was always on the music. The lights enhanced the show, simple yet efficient, with spotlights appropriately focused when necessary.

As the strains of the intro tape “Good to Be Back” faded, Bonamassa stood in darkness, back to the audience alongside rhythm guitarist Josh Smith and bassist Steve Mackey. A quick count and the lights came up as the band launched into “Evil Mama”, the first of 13 songs that formed the basis of a two-hour show.  It took over an hour of stellar musicianship before Bonamassa paused to chat. By then it was impossible not to have been totally absorbed by what was happening on the stage. Bonamassa’s guitar work is sublime; he makes it look impossibly easy. The consummate showman, several times he encouraged deserved applause for those alongside him, including the fantastic keyboard skills of veteran Reese Wynans, whose skilful and soulful playing is essential to Bonamassa’s music. Later in the evening he described Smith as the best guitar player on the stage, allowing the LA guitarist opportunity during “Lonely Boy” and “The Ballad of John Henry” to take over on some searing lead work, Bonamassa content on rhythm duties.

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“Dust Bowl” followed, with an extended workout between Bonamassa and Wynans – one of many during the evening. It was fascinating to watch. Bonamassa’s band are tighter than his suit and vital to the smoothness of the show. The rhythm section of Greg Morrow and Mackey, both Nashville alumni, were rock solid, unsurprising when you explore their pedigree. Morrow’s list of recording work is stunning, dating back over 40 years. He’s worked with everyone from Billy Gibbons to Dolly Parton. Mackey is no slouch with a formidable track record including work with Peter Frampton. His cool demeanour as he laid down the bass lines was hypnotic. Such is the enjoyment of watching such a talented group of musicians, you can watch any of them for hours without blinking.

(c) Mike Evans

As well as the instrument wielding players, Bonamassa’s incredible backing singers bring a real depth to his songs. Australians Dani De Andrea and Jade Macrae are both established artists and their choreographed movements and powerful singing were as mesmerising as Bonamassa’s six string exploits at the front of the stage. I’d expected it to be a little dull, but there was so much to watch as well as listen to that the whole experience was a sensory delight from start to finish.

“Midnight Blues” saw Bonamassa pay tribute to Gary Moore, whilst the delicious “The Heart That Never Waits” was the sole offering of 2021’s excellent Time Clocks. All focus is inevitably on Bonamassa’s guitar playing, but his smooth, rich vocals are also integral to his music. “Just ‘cos You Can Don’t Mean You Should” was a fine example of his singing, his interplay with De Andrea and Macrae just magical. Of course, you go to see Bonamassa for his guitar playing, and it would be impossible to be disappointed. His ability to change gear at will is amazing, dropping down to almost silence with some gentle picking on “Lonely Boy” before kicking out the jams and upping the riff count with a tumultuous climax. His interplay with the theremin on “The Ballad of John Henry” was clever, engaging and added another element to the performance.

When he does talk to the audience, it’s with humour, reverence, and respect. His love of Wales and its castles countered by the discovering of Wagamama’s, Nando’s and Costa Coffee. True Welsh heritage and culture, he laughed!  He was gracious in thanking people for returning to live music, it’s evident that Bonamassa is happiest doing this part of his work.

Sometimes it takes a while before you realise that you are in the presence of greatness. It dawned on me halfway through the set. I’d been so immersed in everything that was unfurling in front of me that it had taken a while for the penny to drop. By the time he delivered a solo encore of “Woke Up Dreaming”, I could have watched him all night. A breath-taking conclusion saw the inevitable “Sloe Gin” preceded by a little more banter with the audience, before a deserved standing ovation saw Bonamassa and band take a bow.

I’m slightly ashamed to say that despite Bonamassa having been playing live for many years, this was my first time seeing the New Yorker live. It won’t be my last.

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All photos by Mike Evans

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