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| © Russell |
Gregory Porter (vocals); Tivon Pennicott (tenor sax); Chris Storr (trumpet); Trevor Mires (trombone); Chip Crawford (piano, Fender Rhodes); Ondřej Pivec (Hammond B3); Jamal Nichols (double bass, bass guitar); Emanuel Harrold (drums); ? (backing vocals); ? (backing vocals)
Four nights at the Royal Albert Hall served as warm up gigs for Gregory Porter's sold out appearance at Newcastle City Hall. As the lights dimmed excitement levels were off the scale. Members of Porter's band strolled out onto the stage, then the man himself. The hall erupted. For the best part of two hours the American superstar would hold court.
Opening with Holding On, Porter was in fine voice, his band one of the best in the business. Dressed in a sharp, double-breasted suit, Porter told us about his afternoon stroll around toon (town) admiring the architecture and the Tyne's many bridges - one every ten paces, said the man. Porter spoke fondly of Hoochie Coochie, the crowd roared, someone local had tipped him off that the venue had changed its name! Brownie points in the bag.
Extended workouts on familiar numbers frequently featured the evening's principal soloist, Tivon Pennicott. Porter's long time pianist Chip Crawford, prominent on grand piano and occasionally Fender Rhodes, impressed, as did ace drummer Emanuel Harrold, nailing it, time and again. Hearing Liquid Spirit, then Hey Laura, we were at the heart of the performance, this was Porter and band at his and their best.
My Girl into Jamming and into Papa Was a Rolling Stone offered a momentary diversion, setting us up for a monumental take on Musical Genocide. Wow! These guys can play! Two Brits were in the band - trumpeter Chris Storr and trombonist Trevor Mires (Porter's 'go-to' horn players when in the UK), both would take their turn in the spotlight.
Concorde (the iconic supersonic aeroplane inspired Porter to write a tune!) and Mister Holland brought the evening to a close. Thunderous applause all but guaranteed a return to the stage. Gregory Porter duly obliged, singing It's Probably Me. The house lights went up and the audience made its way out onto the street and into the night. A memorable night, that's for sure.
Gregory Porter's set list: Holding On; On My Way Up to Harlem; Take Me to the Alley; Liquid Spirit: Hey Laura; No Love Dying; My Girl; Jamming; Papa Was a Rolling Stone; Musical Genocide; Water Under the Bridge; Concorde; Mister Holland; It's Probably Me.
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Earlier, the evening's support act just happened to be Jo Harrop!
Jo Harrop (vocals); Sam Watts (piano)
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| © Neil Todd |
As the lights went down right on the advertised seven thirty start, pianist Sam Watts made his way across the stage and sat down at the house grand piano. Jo made her entrance to more, much more than polite applause. Taking centre stage, Jo stood, where, once upon a time, one of her greatest influences stood, one Anthony Dominick Benedetto, better known the world over as Mr Tony Bennett! Wow!
Support acts are often given a miss by ticket holders, perhaps preferring to meet up with friends in the bar. On this occasion, the hall was something like 95% full - Jo's fans were out in force! What's more, Jo would sing to a 'pin-drop' audience, an audience hanging on every note. Great sound, exemplary microphone technique, Jo sang her heart out. In an all-too-short set, Jo sang a selection of winning numbers, including Everything's Changing, I Think You'd Better Go, a swinging Red Mary Janes and a Brand New Hat, and the bluesy, late-night confessional Whiskey or the Truth. Superb! Jo Harrop and Sam Watts - take a bow! Russell
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