From Kyshona’s intense set to Cedric Burnside’s hypnotic Hill Country Blues and the powerful finale by Michelle David & The True-Tones: an evening full of contrast and quality.
The 28th version of this event took place. As was customary, there were three stages in the theatre. There was quite a bit of overlap in the timetable, so it was inevitable that choices had to be made. Remarkable: in the main hall, three acts that all kept it quite intimate.
Remarkable: in the main hall, three acts that all kept things quite intimate. And of those three, Kyshona stood out. She explained that she wanted to share her history and the accompanying emotions with us, the audience.
She did not do this alone, but together with the excellent Rae(vennan) Husbandes. Kyshona mentioned that she had found Husbandes at Amsterdam Central Station. Take that with a grain of salt, I think, but that doesn’t matter. The duo understood each other perfectly, both vocally and on guitar. Husbandes soloed very beautifully and very sensitively through Kyshona’s acoustic guitar.
That gave the songs a lot of depth. The audience responded very well to it as well, with the exception of a few ‘hooligans’ who were clearly suffering from the Dutch disease. The opener was ‘On The Line’. Kyshona spoke extensively about the legacy of her ancestors, as well as the titles of her last two albums: the first a studio album, the second a live album (highly recommended for those who enjoyed Kyshona at the Southern Blues Night).
The intro to and the song *The Echo* itself is perhaps the ultimate showcase of Kyshona. Sung with incredible sensitivity, but that actually applied to the entire performance.
Cedric Burnside also played his Hill Country Blues in the main hall. He first played three songs solo on acoustic guitar, after which it continued ‘electrically’ with his backing band consisting of Kody Harrell on bass and Joe (Joseph) Johnson on drums.
Hill Country Blues is characterized, of course, by constantly repeating driving riffs, supported by a groovy/funky bass and drum rhythm. So, not easy-listening twelve-bar blues, but mesmerizing, hypnotic, and relentless songs.
And naturally, Cedric did this well. How could it be otherwise when your grandfather (RL Burnside) is practically the founder of this typical form of blues. Perhaps a bit uncomfortable experiencing this music in a theater seat like that. I prefer to experience it standing and going along with this sometimes devilish pact.
The main hall was opened on Saturday evening by Mississippi Macdonald. The timetable played tricks. Studebaker John was playing on the other stage and The Hoochies in the Juke Joint. I heard Macdonald play for fifteen minutes.
That sounded fine. He, too, kept it ‘small’ in that large hall, accompanied by bass and drums. He was in good voice, good on his guitar, but too short to write much more about it, because: Studebaker John with his Belgian backing band The Shakedown Cadillacs were there early.
Studebaker John and his Belgian backing band, The Shakedown Cadillacs, kicked off the evening on the Groove Time Stage. John’s latest album, *Jumpin’ From Limb to Limb*, has just been released and is excellent.
Fortunately, Studebaker John Grimaldi and The Cadillacs had had plenty of time to rehearse a number of songs from this album together. Among those performed were *Shake That Thing*, *Sho-enuff Did*, and *Well Allright*.
Shakedown guitarist Tim Ielegems was given ample opportunity to solo, while the duo of Chris Forget on bass and Koen Van Peteghem on drums kept the songs tightly backed. Maestro Grimaldi with his distinctive voice, his slide guitar, and his harmonica: it was pure enjoyment.
The venue was not full; a quarter to seven was indeed very early for such a long evening. But those who were there joined in enthusiastically during the songs where Studebaker John asked the audience to sing along. And the fact that his stamina was still fine was evident from the long sustained notes.
Fortunately, there was an encore, but unfortunately, it was all over within an hour. Via Mississippi MacDonald to the Juke Joint, to The Hoochies.
The Juke Joint was reserved for the Dutch contribution all evening. The Suzets from Roermond had opened the festival. A very complete ensemble: brass, double bass, keyboards, guitar, and a fantastic singer.
They play covers but put their own unique spin on them. A swinging start, but your writer didn’t want to miss Studebaker. So, The Hoochies it was. They themselves indicated that it was getting very early, perhaps that’s why they had forgotten to bring their albums.
Well… Their performance in Heerlen fell between the International Blues Challenge in Memphis and the European Blues Challenge in Poland. It took a little while to get going, but then it turned into a spectacular performance. Back On My Own, their recent album, was played almost in its entirety. If I kept track correctly, only Mary Don’t You Weep wasn’t played.
The band was in the mood; the fun was palpable. Roelof Meijeringh (from Assen, Texas – as singer/harmonica player Richard Koster – from Groningen – repeatedly announced him) was in top form, but that actually applied to all four of them. Here stood a real band, not just one musician with a backing band. A rock-solid rhythm section: Jules van Brakel on bass and Chiel ten Vaarwerk behind the drums, the charismatic Richard Koster on vocals and harmonica. Absolutely awesome. They are going to turn Katowice in Poland upside down in two weeks.
The Juke Joint also lends itself very well to this band. There is hardly any distance between band and audience; every note, every stage movement resonated immediately. And that is the beauty of music on an evening like the Southern Blues Night. One moment you are enjoying the energy of Studebaker John or The Hoochies, the next it is breathtakingly quiet as Kyshona and Rae Husbandes share their legacy with you.
Then Henrik Freischlader with his band (including Hammond), on the Groove Time Stage. And groovy it was. Blues with a capital B. Everything is spot on: guitar solos, vocals, themes being sung. That is perhaps the only point of criticism: everything is spot on, and as a result, a raw edge is missing.
Freischlader comes across as a friendly, proper musician. String snapped, guitar to the sound engineer, guitar comes back repaired. The sound engineer is thanked politely. Henrik takes off the spare guitar, puts on the repaired one, and then blasts out another song (She’s Back from the 2007 album Get Closer). The audience goes wild and Henrik says: Danke. A bit raw, sometimes a little rough around the edges – that’s perfectly fine.
It is not false modesty, because he doesn’t need it, any more than his band does. He does have a sense of humor: she left, Henrik sad, but luckily she came back (the next day), Henrik happy. Freischlader now has an extensive oeuvre to draw from. He was eighteen when he started his band, his first album came out twenty years ago, and by now there are twenty.
He played right through all of that in Heerlen, and we enjoyed his excellent guitar playing and the accompaniment of Leon Mucke (drums), Gregor Sonnenberg (bass), and Dave Warmerdam (Hammond organ and keyboards). His new album, Precious Time, will be released soon.
Michelle David & The True-Tones closed the show on the Groove Time Stage. This American artist has been living in the Amsterdam region for quite some time, and the accompanying True-Tones are also from our country.
Her show provided a shot of energy. We could certainly use that after about four hours of walking, standing, and watching. As colleague Jos noted in his album review: versatile, with a voice that sometimes reminds one of Diana Ross.
And a band with all the trimmings: standing still was no longer an option. The album is called Soul Woman, and she *is* Soul Woman. She switches effortlessly from The Supremes to Isaac Hayes in that title track.
A lifetime of music – she started singing at the age of four – with a clear gospel background. Michelle David showcased that versatility and is, moreover, a delightful stage presence. A real treat, especially for soul and gospel enthusiasts.
Unfortunately, I only caught glimpses of Five Dollar Shake in the Juke Joint, who played during Kyshona and Michelle David’s set. Those brief moments certainly beg to see them perform in detail.
Singer Lucinda Legaspi, in particular, impressed with her raw voice and sheer energy. Doctor Velvet closed the Southern Blues Night, as expected: swinging and drawing from rhythm & blues from the sixties and seventies.
Southern Blues Night in Heerlen offered a rich mix of styles and energy. Kyshona moved us with her intimate, sensitive performance. Cedric Burnside delivered hypnotic Hill Country Blues.
Studebaker John and The Hoochies provided raw energy. Henrik Freischlader played tight and groovy, while Michelle David & The True-Tones closed the evening with power and soul.
