Friday, 30 January 2015

'Yesterday I Had The Blues' by Jose James [album preview]



The tireless workhorse that is Jose James wastes no time with following up on his 2014 album release, 'While You Were Sleeping' with his third release for Blue Note records - 'Yesterday I Had The Blues', his musical tribute to iconic jazz vocalist, Billie Holiday.

Always seeming to enjoy keeping listeners on their toes, James follows the unpredicatble genre-fusing album of last year with a release that aims to take things right back to the purists who fell in love with his debut album release 'The Dreamer' - much like he did in 2010 when he followed the hip-hop and electronic-sounding album of 'Black Magic' with his collaborative jazz classics project with Jef Neve, 'For All We Know'.

The release is due out 31st March State-side and features an incredible band, including Jason Moran on piano, Eric Harland on drums, and John Patitucci on bass.  The complete tracklist has also been released along with - what's a real treat - a 5-minute album preview with words from James himself, and album producer, Don Was:

1. Good Morning Heartache
2. Body and Soul
3. Fine and Mellow
4. I Thought About You
5. What a Little Moonlight Can Do
6. Tenderly
7. Lover Man
8. God Bless the Child
9. Strange Fruit


Tuesday, 20 January 2015

The Baker Brothers: "Testify!" [Interview]


For soul music fans, we seem to be within the midst of a glorious renaissance where new soul and funk bands are far from a rarity with new names springing up at every turn, and although it gives us tremendous pride to be a place to feature brand new acts like Gizelle Smith & The Mighty Mocambos and The Liberators, it’s also massively encouraging and exciting that we’re able to meet an excellent UK band who are on their … get ready … SEVENTH album.

With a career spanning ten years, it’s an incredible feat that Bournemouth’s Baker Brothers have been bubbling away all this time with a loyal following in tow. 

‘Time to Testify’ is a worthy – for lack of a better term – testament(!) to the years these soul veterans have put in and the record oozes of their professionalism and sheer skill.  More than anything, this record portrays The Baker Brothers as a band with a clear identity and a unique take on the genre, completely devoid of the tiny foibles, although not pitfalls, that some funk bands can fall into.  We have a lead singer (Christopher Pedley) who’s unique and confident enough to steer clear of the James Brown-esque parodies or vocal techniques he’s famed for, the music isn’t drowning in heavy and over-used horns and pounding through at 100mph – all the elements are masterfully pulled together here resulting in more groove-led music, and we’re presented with a wonderfully accessible record that would cement the affections of a casual fan and certainly that of a die-hard one as well.

‘Time to Testify’ feels like how a new record should.  Songs like ‘The Bottom Rung’, ‘Patience’, ‘Snap Back’ and ‘Once I Had A Friend’ all capture its freshness, it’s vibrancy and inevitable heavy replay value.  Should this be someone’s first Baker Brothers release, I can’t imagine them hearing this and not wanting to immerse themselves in the band’s back catalogue as well.

It’s a huge coup for Liberation Frequency that Christopher Pedley (bass player, producer and vocalist for the band) took the time out to chat with us about the new record...

IMRAN MIRZA: Seven albums in 10 years is an incredible achievement – do you still feel the pressure of releasing new material?
CHRIS PEDLEY: We feel personal pressure to create new music on a regular basis. Writing is the most important and exciting part in the process of making an album, consequently it’s something that we make time for. It is important to practice whatever your passion regularly. We tend not to think too much about what we write – we want to be natural and honest. This is often the downfall of many artists trying to be ‘like this’ or ‘like that’, we endeavour to just sound like ‘The Baker Brothers’.

Can you tell us about what went into the making of ‘Time to Testify’?
‘Once I Had A Friend’ was the first tune recorded for the album, early in 2010, followed by the single ‘Patience’ and ‘The Young Patter’ recorded in autumn 2010. Rich Baker (the original drummer) decided to leave the band on January 1st 2011 following the birth of his third baby boy and family commitments.  The rest of the band wanted to continue so Ted Carrasco stepped up to play drums and finish the recording of ‘Time To Testify’. The guitar player, Geoff Lai, and I got some song ideas down in November/December 2010. Other band members brought various offerings to the table, i.e. Paul Young’s ‘Head South’ and ‘The Bottom Rung’. January 2011, we rehearsed lots of new material and had a 4 day session in mid February to get it all down. We wanted to be impulsive and instinctive and follow the buzz of ideas that everyone threw into the pot.  We picked a great studio with a rock solid engineer who had a strong vision for our sound, and then we went for it.

How does the new release hold up to your previous efforts?
We feel proud to have represented ourselves honestly with where we are at right now. As a band we have been through many twists and turns over recent years and feel glad to now be in a stable position to write, record and create with a collective vision. As I consider those things, I believe in many ways that ‘Time to Testify’ surpasses anything we have ever released, it is our most consistent and potent work to date!

How would you say the creative process in writing, producing and recording new music usually work for you?
Jamming is a big part of our creative process, refining ideas, trying different approaches to ideas, pulling apart and then rebuilding. When we have the tunes written, we rehearse till we feel they are ready to record. Production-wise we look carefully at our studio options and consider what sound will suit us best at that time. 

Do you think funk bands and artists in the UK get the credit they deserve?
The music business is pretty tough, I feel happy and hopeful when I hear about the success of any funk or soul band! It obviously brings pleasure to hear praise but at the end of the day we have to make music because we love it. 

Who would you love to have grace a stage, or appear on an album, with The Baker Brothers? 
I would love to hear what Quincy Jones or Questlove could do with The Baker Brothers!

You're famed for having performed all over the world – how do audiences differ, and apart from London, where's been a particular highlight?
Firstly, you never know how things are going to turn out. You could be in an empty warehouse at 10pm and then step out again an hour later and it be rammed with people.   In August 2011 we played the beach stage at the Sunset Festival in Fukuoka in south Japan to around 4000 people. It had been raining most of the afternoon and we were on at 5pm before Soil and Pimp finished off the festival that night. When we came on stage the sun came out and there was a rainbow over the festival, the crowd went nuts.

If you were introducing your music to a prospective new fan, which song from your catalogue would you recommend they listen to that best sums up the group? 
I would recommend they listen to ‘Snap Back’ from ‘Time to Testify’ (our latest album) as this song has all the main ingredients of The Baker Brothers: killer horns, riffs and rhythms. 

What’s been a career highlight for The Baker Brothers?
Making it through 10 years of releasing music and still wanting to make more is a highlight for me. I feel privileged and lucky to be part of a positive, creative partnership, and that is the bottom line! The band have become like a family and when we write together it feels like a safe environment. Every day has its challenges but this year past we have a new found momentum and I hope it lasts another 10 years. Thanks to you for your support.

Friday, 9 January 2015

My Funky (In)Disposition Make Believe MashUP Series [No.06]




This is a pairing that will either take people by surprise and not make a whole lot of sense initially, or you’ll totally hear what I’m hearing and would get really excited at the prospect of a Raphael Saadiq-produced Lenny Kravitz album.

Let’s establish each of our candidates’ credential firstly: Lenny Kravitz – certainly no introduction would be necessary though – iconic rock performer, producer, writer, multi-instrumentalist whose first album was released in 1989 and since that time has released ten studio albums, not including his work for other artists which would list collaborations with Cree Summer (for her incredible and slept on album, ‘Street Fairie’) and Madonna, having produced her hit ‘Justify My Love’.  Lenny Kravitz has long been established as one of rock’s premier artists but the world of R&B, soul, funk and hip-hop certainly isn’t something that’s alien to him or his music, already with a list of collaborations that include Mary J Blige, Jay-Z, P Diddy, The Neptunes and Swizz Beats, amongst others.  In fact, Kravitz’s 2011 album ‘Black and White America’ is very much the reason for me selecting Kravitz for this series as this album has since been considered his long-talked about ‘funk’ album, but, for me, despite the excellent title-track, I don’t think the album hit the funk and soul heights that I had been expecting.  It’s never really been Kravitz’s M.O. though so I won’t hold it against him, but it has consistently made me think of who could be the absolute best person to bring a more soul-fused approach out in his music and the best person I could possibly think of to do that… is Raphael Saadiq.

Here’s another name that should require little introduction: one of the most consistent, established and incredible producers within R&B and contemporary soul music is Raphael Saadiq.  The Tony Toni Tone’ and Lucy Pearl alumni, despite having a career with the Tony’s since 1988, only branched out as a solo artist in 2002 with his well-received debut album, ‘Instant Vintage’ and has since followed that up with a further three studio albums.  But Raphael Saadiq’s brand and reputation is also equally built upon his work for other artists including ‘Lady’ and ‘How Does It Feel’ for D’Angelo, ‘Soul Sister’ for Bilal and further production for R&B and soul acts including The Isley Brothers, Kenny Lattimore, Kelis, Total, Anthony Hamilton, Angie Stone, Jill Scott among countless others.  (Raphael Saadiq’s amazing production talents have in fact been highlighted twice within our ‘GetToKnow… The Producer’ series which you can check out here.)

Could it happen?
Well, out of all the MashUPs we’ve created, this one I’d say has the best chance of actually coming to fruition.  Sort of.  Lenny Kravitz, although he has recruited outside collaborative writers and producers for his music, has never really relinquished complete control of his music, and, in fairness, it would probably work better for them to collaborate together then for one person to completely steer the project on their own.  There is something of a common denominator between both factions that makes this that much closer a possibility, and that’s Trombone Shorty.  Horn player and vocalist, Troy ‘Trombone Shorty’ Andrews, has been a part of Lenny Kravitz’s touring and studio entourage as far back as 2005 and has even cited him as his mentor – in the time since Shorty has gone on to distinguish himself as a named artist in his own right chalking up several solo studio albums on Verve Records with his most recent 2013 effort produced by – can you guess who…? – Raphael Saadiq.  The ‘Say That To Say This’ album featured this Kravitz-esque guitar-heavy sound merged with funky New Orleans soul making for a blissful listen, and it serves as the perfect example of what a Lenny Kravitz/Raphael Saadiq collaborative album could sound like.

For our exhibits, we’ll opt for a couple of fairly obvious choices: Exhibit A is Lenny Kravitz’s funk-filled ‘Black and White America’ with the added bonus of Trombone Shorty on trombone)…


And Exhibit B will take a slice of Trombone Shorty’s ‘Say That To Say This’ record and the Saadiq-produced ‘Long Weekend’…


Tuesday, 6 January 2015

What I'm listening to...


'GoGo Soul' by The Rongetz Foundation featuring Gregory Porter
Headed up by Stephane Ronget, The Rongetz Foundation's 'Brooklyn Butterfly Session' is a new discovery for me and it's packed with jazzy awesomeness.  'BBS' features Gregory Porter's vocals on two tracks plus Renee Neufvillle on another - it was very difficult to pick a standout from this album but figure I'd introduce you to 'GoGo Soul' with the always excellent Gregory Porter...



'Maz' by Richard Spaven featuring Jose James
As my '2014 honourable mentions' post indicated, I'm thoroughly immersed within music by Richard Spaven currently so here's a number from his 2010 EP release 'Spavens 5ive' featuring his long-term 'match-made-in-heaven' collaborator, Jose James, on vocals...


'Red Balloon' by Gizmo
This is just awesome!  Really, this song is me to a tee!  Recently discovered musicby producer, bassist, vocalist Gizmo who seems to have a healthy dose of music floating around.  There the 2012 album 'Red Balloon' (where this song comes from), a 2013 EP 'The Middle' and new material recently surafcing on his SoundCloud page so there's plenty to catch up with.  Here's the title-track from said 2012 album release which- as I say - is brilliant!


Wednesday, 31 December 2014

Podcast #8: 'Get to Know...' Robert Glasper


Episode 8 of our 'Get to Know the Producer' series brings us to Grammy-winning Blue Note pianist/musician/producer, Robert Glasper. We've dug deep to present a number of great tunes featuring his expert piano and keyboard playing and hope you enjoy the selection.

Below is the tracklist for your listening and downloading pleasure:
'Life is Better' - Q-Tip f/t Norah Jones
'Slim and Juicy' - Chris Dave f/t Sy Smith
'Vanguard' - Jose James
'Now I Know' - Brandon Williams f/t Robert Glasper & Jesse Boykins
'In A Dream' (Remix) - Gretchen Parlato
'Letter to Hermione' (Robert Glasper Remix) - Robert Glasper Experiment f/t Black Milk
'When Will You Call' - Bilal
'Already There' - Taylor McFerrin f/t Robert Glasper & Thundercat
'Get Lucky' (Daft Punk cover, live) - Robert Glasper Experiment
'A Love Supreme' - Robert Glasper Experiment

Monday, 22 December 2014

2014: Top 6 soul albums

#6

'Forever Dreaming' by Myles Sanko [Legere Recordings]
Myles Sanko epitomizes exactly the kind of artist that made me want to start writing about my passion for music.  Incredibly talented, amazing work ethic, and music that will make you want to share it with everyone you know.
The release of Sanko’s debut EP in 2013, ‘Born in Black & White’, laid the groundwork for an artist more than primed to make his mark amidst today’s contemporary soul scene and, through Legere Recordings, the payoff has arrived with the release of the full-length album, ‘Forever Dreaming’.   I previously described Sanko’s music as “horn-heavy, cheerfully-rousing, blissfully sweet, soul music masterfully presented by an artist adept at commanding a packed dance floor with uptempo funk numbers … while still being able to tenderly whisk you away with ballads”.  While ‘Born in Black & White’ boasted a bevy of uptempo numbers, ‘Forever Dreaming’ opts to slow things down a little while still retaining Sanko’s charm, personality and inimitable energy throughout. 
The band here are genuinely top-tier and add so much to the product rightfully warranting two pieces to demonstrate their worth without a vocal, ‘Lonely Dreamers’ and the instrumental version of ‘To My Surprise’.  Other notable songs on the release include ‘My Inspiration’, ‘So Much Indeed’ and ‘Where We Need to Be’.

#5

'Rejuiced Phat Shake' by Nick Pride & The Pimptones [Legere Recordings]
Nick Pride & The Pimptones have a lot to be happy about in 2014 – brand new label home within the comfortable confines of Legere Recordings, and a brand new album release to boot as well: ‘Rejuiced Phat Shake’, serving as the follow-up to their 2011 Record Kicks debut, ‘Midnight Feast of Jazz’.
‘Midnight Feast of Jazz’ in itself was a genius concept record for an album – a soul band’s interpretation of jazz music – and it’s a concept that served as a fine introduction for the group, even extending to a remix album, entitled ‘Remixed Feast of Jazz’.  Moving away from the jazz concept this time round though, the group flourishes within its natural aesthetic as a soul band whose music is brought to life with an array of excellent vocalists including names that appeared on the debut, Jess Roberts and Susan Hamilton, and new voices Courtney Velecia, Lane Thomas Hewitt, Micka Moran Parker, amongst others, and including rapper, Dubbul O.
‘Everything’s Better in the Summertime’ (featuring Karen Harding) – originally housed on the Record Kicks 10-year anniversary compilation from last year – thankfully finds a home on this release as well and sounds as excellent as it did then, but unfortunately, the band’s cover of Massive Attack’s ‘Unfinished Sympathy’ isn’t so lucky so I implore you good people to do all you can to get your hands on that piece of brilliance.
But as I say, there really is plenty of soul-filled and funky vibrancy and brilliance to wrap your ear buds round on this release with early standouts including the aforementioned ‘…Summertime’, Take Care of My Love’, ‘It’s A Love Thing’, ‘Wanna Treat You Right’ and ‘Hex on My Soul’.



#4

'Heroes + Misfits' by Kris Bowers [Concord Music Group]
I’m having particular difficulty in trying to keep up with the amount of new jazz releases and really have to tip my hat to the amount of excellent stuff that’s come out this year as I am fully enjoying immersing myself in as much of it as I can come across.  The debut album from Kris Bowers – 2011’s winner of the Thelonious Monk International Jazz Piano Competition – is always going to raise particular interest though, especially when said winner is a part of Jose James’s touring band, and has his debut album released via the illustrious jazz label, Concord Music Group.
‘Heroes + Misfits’ sees Bowers heading up his own sextet for a release rooted in classic jazz tradition, while progressive enough to speak as an artist in his own right, in his own time.  With song titles like ‘Wake The Neighbors’ and ‘#TheProtester’, even the album title itself, ‘Heroes + Misfits’, present a young artist with a charming air of rebellion that culminates in an irresistible sound.
Guests include Robert Glasper Experiment’s very own Casey Benjamin, who blesses us with his saxophone on several songs throughout, and even brings his now infamous vocoder along too for the aforementioned ‘#TheProtester’; Jose James appears on the album closer, ‘Ways of Light’, but it’s Julia Easterlin who steals the show with her contribution to ‘Forget-er’ – I’d use a lot of words and not really come close in being able to describe how beautiful this song is so please check it out.
Aside from the songs already mentioned, ‘Drift’ is another that will definitely find itself on ‘best of 2014’ playlists (certainly mine!) and on ‘Heroes + Misfits’, there really is buckets to choose from so make this album a part of your playlists as soon as you can.

 

#3

'Black Messiah' by D'Angelo [RCA]
I'm genuinely still pinching myself that this is real.  Even after a week, I find it hard to sum up that feeling of finally pressing 'play', hearing the music start on the album's opening track ('Ain't That Easy'), and hearing D'Angelo's voice occupy his own album after the much-talked about 14/15-year absence.  It's monumental that an artist with only two albums to their name over the span of nearly 20 years can create such a buzz, such a frenzy in fans that this moment means the amount to them that it does.
I'm one of them.
What makes this frenzy and excitement so much better is that 'Black Messiah' is good.  It's really goooooooood.  It has to be good, it's stormed its way to number 3 on our 'best of the year' list and even forced us to have to extend the list to include six albums instead of five. 
Always one to wear his influences on his sleeve, D'Angelo makes no bones about making efforts to emulate his heroes, which include Sly & The Family Stone, Jimi Hendrix, Prince ['The Charade' is by far the most Prince-like song anyone has ever made.  I feel like even prince would hear it and say 'This has to be my song but I have no idea when I made it - and that's intended as a compliment!].  Musicians appearing on 'Black Messiah' include Pino Palladino, Chris Dave, Questlove, Jesse Johnson and Roy Hargrove, who recreates much of their 'Voodoo' chemistry with excellent horn arrangements that compliment the music so well.
Time is against me here so I'll attempt to delve into the album with another review at a later date but as far as Christmas presents go... this was a pretty good one!



#2

'Dawn' by Emma Donovan [HopeStreet Recordings]
The name 'Emma Donovan' may be new to most but her credentials as a vocalist and songwriter stretch all the way back to gracing stages at the tender age of seven years old.  While there have been various musical unions and collaborators since that time, it’s the magic she now makes with The PutBacks which is proving the very perfect chemistry to propel all involved into premier names in soul music.
Courtesy of the incredible HopeStreet Recordings label, the gritty and bluesy funk injected into ‘Dawn’ by The PutBacks has seen the band open for fellow funk luminaries, Charles Bradley & The Menahan Street Band, The Bamboos and Booker T.  They also have a series of 45s and other excellent releases through HopeStreet, but it’s ‘Dawn’ – which also acts as the band’s own first full-length release as well – that marks their crowning achievement to date.
Together with Emma Donovan, they deliver such a distinctive and unique interpretation of soul music that it’s almost hard to draw upon any comparisons amongst today’s artists.  Any soul music fan knows they’ve stumbled onto a real gem in those rare instances.  It’s soul music that’s part country, part rock, part gospel, part blues; the lyrics have been touted as depicting ‘Emma Donovan’s life through song’ which is an incredibly apt description, but when you couple that with a voice that resonates every single emotion like it’s being experienced within that single moment, it makes for an undeniable moment for a listener.  It’s a distinction that not just turns listeners into fans, but fans into believers.

 

#1

'Emma Jean' by Lee Fields [Truth & Soul Records]
Lee Fields’ job of securing his spot as the marquis act for Truth & Soul Records could be argued to be an increasingly difficult task bearing in mind the label’s ever-growing popularity and achievements: aside from being the production team behind Aloe Blacc’s mega-selling ‘Good Things’, the label also boasted an unexpected overnight sensation with the trans-Atlantic pairing of Terri Walker and Nicole Wray forming the group, Lady.
Well, as difficult as the aforementioned task may be for 62 year-old Lee Fields, he completes it with an incredible ease that his last three albums with the Daptone/Truth & Soul super-group mash-up – ‘The Expressions’ – as backing, steadily secure coveted spaces among any worthwhile ‘best of the year’ lists amongst soul music releases.  ‘My World’, ‘Faithful Man’ and 2014’s ‘Emma Jean’ – while serve to direct keen fans to celebrate and explore his older catalogue – show Fields as practically as good as it gets for soul music today.  I amuse myself by imagining that being a comment that would make him smile, considering how hard Fields admittedly tried earlier in his career to emulate the unabashed funk-ness of the legendary James Brown [see Fields’ release ‘Problems’, recorded in 2002 where he showcases what’s now known as the signature James Brown style, even going as far as covering ‘Get on the Good Foot’].
Funk’s loss was soul’s gain as currently exemplified by ‘Emma Jean’ (named after Fields’ late mother) with production handled by Leon Michels.  Much like Charles Bradley’s incredible ‘Victim of Love’ album from 2013, Fields comfortably opts not to play it safe and stick to traditional fare, even though – through all the musicians involved – it would result in sure-fire success.  What we’re left with though is genuinely something special and, with twinges of country soul throughout, album highlights include ‘Just Can’t Win’, ‘Magnolia’, ‘It Still Gets Me Down’ and even more notably ‘Stone Angel’.
I’ll conclude with a statement I made earlier and that’s that Lee Fields & The Expressions are genuinely as good as it can get in today’s contemporary soul market so if you’re yet to board the bandwagon, then ‘Emma Jean’ could be as good a place as any to start.

Monday, 15 December 2014

D'Angelo: 'Black Messiah' (+ live review '12)


Ok, well hands up if you saw this coming... ? Mere days away from 2014 coming to an end, D'Angelo's long, long, oh-so-long awaited third album has finally seen the light of the day.  Unfortunately, the release currently exists as digital-only but I don't imagine it'll be too long at all before the CD follows in suit.  I'll save any further words about the release until I actually have the CD in my hands but I - like the rest of the soul-loving world - am crazy excited that it's finally happened.  To mark the occassion, I unearthed a review I prepped a while ago of D'Angelo's return London gig from February 2012 and thought it would be interesting to republish.  It naturally contains the (now) pre-dated musings of where he's been and whether a third CD actually surface but hopefully you'll enjoy the read anyway...

D’Angelo live @ Brixton’s O2 Academy 03/02/12


Would he or wouldn’t he? That was the question I kept asking myself as soon as D’Angelo’s European tour was announced.  There was a time the announcement of a D’Angelo gig would have had me prepared to crawl through broken glass for a ticket, to dance over hot coals, to jump from a tall building, to… well, you get the point, but the announcement of this particular gig didn’t have me prepared to do those things.  I guess, as I say, I didn’t fully believe it would happen, and maybe I’ve just lost a little faith in D’Angelo, ‘the artist’.

To quickly address the things we already know: ‘Brown Sugar’ comes out in ’95, births a new movement for contemporary soul artists, the Grammy-winning ‘Voodoo’ is released five years later and in the 12 years between then and now, all fans have had to tide them over is a handful of collaborative songs and news reports of arrests, drug addiction and ballooning weight.

It’s all very sad really.  I have no wish to comment on the man’s personal life, of which I know nothing about, but what makes me sad is what he could have achieved in those 12 years – there could have been multiple albums, collaborations, tours – my iPod salivates at the music it could have listed under his name.  One part of me thinks he could have become a soul music legend, but thinking about it, I think he already has.  I can’t come up with any other names of artists that could have released two albums over the course of 17 years, and after a 12-year gap, have generated this much excitement and interest in their return.

I didn’t initially jump at the chance to go along to see D’Angelo in Brixton, but I’m really glad I changed my mind.

He looked good, he sounded great, and the list of musicians forming the band went a long way to further rejuvenating my interest and reassuring me that this is something he was taking seriously:  Pino Palladino (bass), Jesse Johnson (lead guitar) and Chris ‘Daddy’ Dave (drums), all masters in their own right and all shone on the night.  With a guitar strapped around his shoulder for most of the night, D’Angelo displayed a great energy about him throughout the night and threw himself into the songs as much as he needed, even going as far as to hurl the mic stand behind him during a rockier take on ‘Devil’s Pie’, to screams of delight from the crowd, all happily feeding off of his enthusiasm.

Perhaps even more surprising was the amount of new songs that made the setlist – all of which currently doing the rounds on YouTube, and as great as they sounded, it’s a shame that they came at the expense of established classics: ‘Me and Those Dreaming Eyes of Mine’, ‘Untitled’ and ‘Cruisin’ were only allotted a few minutes each during a solo piano medley.  ‘Lady’, shockingly, didn’t even make the cut in any fashion!?  ‘Brown Sugar’ was repackaged with incredible new ‘funky’ life breathed into it and made for a fantastic encore, and other songs like ‘Devil’s Pie’ and ‘S##t, D#mn, Mother F###er’ had equally innovative and welcome new takes delivered on their performances as well.

Without getting too ahead of myself, hopes are currently high for new material this year, and, fingers crossed for another supporting tour, but I guess attention will then inevitably turn to the already long overdue FOURTH album(?)!