Pop Break Live: Joe Bonamassa ‘Redemption’ at The State Theatre of New Jersey
In a world comprised of so many superbly talented artists, some musicians just stand above the rest and master their craft to the point where their respective instrument becomes their first language; and guitarist Joe Bonamassa is the living embodiment of someone who truly lives, breathes, speaks, and possesses one of the most elite, versatile arsenals this six-stringed instrument could possibly ever offer.
On March 14, 2019, Joe Bonamassa headlined one of the most gorgeous venues in the Tri-State area, the State Theatre of New Jersey, and it felt like destiny had awaited his arrival. Seriously, the vintage acoustics of this historic theater served as the perfect soundscape to unleash Bonamassa’s heart-throttling, blues-ridden guitar playing. As it pertains to attending live concerts, some audiences just happen to be in the right place at the right time, and this performance felt like one of those special nights where Bonamassa legitimately tapped into another level beyond virtuosity itself.
Rocking a black suit, sunglasses, and playing a plethora of stunning Gibson’s and Fender’s, Joe Bonamassa took this sold-out crowd through an autobiographical journey across his entire solo catalog, including his most recent LP Redemption. As someone with an acclaimed professional background dating back to his youth, he continues to profoundly honor the instrument with the utmost respect and has expanded his diverse artistic endeavors across a multitude of genres, including R&B, soul, funk, jazz, and the grittiest rock ‘n’ roll.
Case in point, the hammering riff patterns and ‘70s infused, groove-ridden nature of “Evil Mama” demonstrated a musician who possesses maestro levels of compositional theory, yet miraculously knows when to let his heart guide him, especially when he unleashed such elegant solos with goose bump-inducing bends that captured the majestical, improv essence of the blues.
And best believe, this performance was the furthest thing from a solo effort. Bonamassa’s backing band features some of the most decorated, highly respected, and superbly talented musicians in the entire music industry. Straight up, if this were a batting lineup, it felt like we witnessed the late ‘90s New York Yankees dynasty step up to the plate and continuously smack homers outside the park.
Case in point, keyboardist Reese Wynans (Stevie Ray Vaughan and Double Trouble) brightened up the room with such jovial, amplified organs and extended solos, and the entire crowd energetically gasped by the thread of every key whenever he took the lead. During “This Train,” saxophonist Paulie Cerra (Stevie Wonder, Kirk Franklin, Lucky Peterson) took his swing-era, jazz style podium by storm and his blissful note expression was packed with such riveting emotion, which felt like a roller coaster of soothing, yet aggressive passages topped off with extensive high notes.
As “This Train” neared its conclusion, bassist Michael Rhodes (Elton John, Stevie Nicks, Taylor Swift) stood directly across from Joe and traded solos with him back-and-forth, and some note-for-note duplication even as Bonamassa unleashed some subtly complex note patterns. Major props belong to the band’s sound engineer as Rhodes’ bass tone distinctly stood out for its riff-rattling grit and soothing soul throughout the entire show. Truth be told, any aspiring bassist should study Rhodes’ versatile approach, take notes of his live setup, and listen to where he finds the connective tissue in between the drums and guitar, especially in an improv setting.
Speaking of the drums, this band features the one-and-only Anton Fig (The Late Show with David Letterman, Bob Dylan, Mick Jagger) who is a complete class of his own as “The Thunder from Down Under.” Whatever the definition of “cool” means, Fig is the living embodiment of “cool,” especially when it pertains to merging style with substance. The opening track “Just Cos You Can Don’t Mean You Should,” has some really fun parts where the band suddenly stops and kicks back in with these syncopated hits, and I cannot overstate the difficult of nailing such an energized transition, and Fig kept the ship smooth sailing. Yes, this group is loaded with all-star talent, but Fig’s rhythmic prowess brought out the absolute best in his bandmates and allowed them to perform at the highest level.
One of the most noteworthy components of this show, the setlist featured a number of tributes in honor of the greatest blues musicians, including Bonamassa’s longtime mentor, B.B. King. During the band’s cover of “Never Make Your Move Too Soon,” trumpeter Lee Thornberg (Jay Leno’s House Band, Tom Petty, Ray Charles) unleashed such a mesmerizing solo that maximized the emotional expression of his respective instrument and his chemistry with saxophonist Paulie Cerra consistently heightened the dramatic effect of the entire set, which allowed Bonamassa to build into his gargantuan solo’s.
And thus far, I’ve heavily focused on this band’s instrumental prowess. His two backing vocalists Jade Mac Rae and Mahalia Barnes, who both hail from Australia, added such an irresistible charm and elegance that maximized the captivating harmonies of each chorus across the entire set, especially with the high notes they hit during “How Deep This River Runs.”
Bouncing off my last point, Joe’s voice is truly special to behold and his incredulous range allows him to convey the grittiest emotions that personifies the personal outpouring of the blues. Atop of playing some complex guitar parts, he knows how to tap into the soulful sustain of his voice, which powerfully echoed across the theater, especially during his cover of Willie Dixon’s “I Can’t Quit You.” And towards the latter half of this tribute, Bonamassa unleashed one of the most insane displays of virtuosity that I have EVER witnessed. Over the years, I’ve seen some of the world’s most iconic guitarists perform and Bonamassa’s solo ranks near the very top, and his technique transcended into classical, jazz, and metal esque territories. Imagine if B.B. King merged with Brian May, this solo was packed with such sentimental peaks and valleys that pulsed the heart and ignited some of the most suspenseful emotions that one might possibly ever feel.
And alongside the near two-and-a-half-hours of Olympian-like musicality, this show is packed with some top-notch humor, especially when Joe mentioned his love for the fans in this area and how the infamous potholes of the New Jersey Turnpike made this show that much sweeter. He would take the heartfelt loyalty of fans in New Brunswick over a multitude of other famous cities and countries, which made the crowd go wild. Make no mistake, he goes by the name “Joe” and for anyone unfamiliar with Northern/Central New Jersey, this area of the state is heavily populated by former New Yorker’s, the five boroughs to be specific. In regards to the name “Joey,” this is one of the only areas in the world where he enjoys hearing the fans say, “Ey Joey! How you doin’?” His impression could have earned him a role in the Soprano’s and brought the house down in laughter.
Throughout the night, Bonamassa expressed the utmost confidence, gratitude, and optimism that guitar playing rooted in the blues is alive and thriving. Major props belong to his entire team for their vision to think beyond the norm, this show possesses the highest levels of musicality that attracts loyal listeners and fellow musicians, yet could be easily absorbed by audience members unfamiliar with the genre.
For the sake of honoring tradition and pushing the limits forward, Bonamassa’s group resurrects the big-band tradition through modern rock contexts with their top-notch production and instrumentation. Plus, the “Evening with” setting is a true behind-the-scenes showcase of Bonamassa as a person, the most authentic experience one could ever witness from an artist they admire. Believe me, do not miss this opportunity to see a once-in-a-lifetime musician perform at insurmountable levels, especially if he playing near your respective city.
