How do you know you’re at a gig where the legendary Robert Plant is performing? Well, there are a few tell tale signs and it’s not just the queues at the gents for those overactive prostates. You can add to that list some rather typically rude talking during songs, an inability to use a mobile phone to take a photo without the flashlight activated, and a general entitlement for a generation that by and large, is in the most comfortable stage of their life. It's rare these days that I feel young at a concert, but this was certainly one.
Led Zeppelin III was released six months after I was born, and a certain Robert Anthony Plant was already achieving rock god status. To see him 54 years later, aged 75, still imposing his incredible presence (sorry) on stage, well, its mind blown isn’t it. Unlike the stumbling wreck that is Ozzy, Plant stands tall (literally – he is still a big man) alongside such contemporaries as Gillan, Halford, Byford, Brock, Wilson and Brown. The huge difference is the voyage of discovery that Plant has taken since 1980; a meandering musical journey of exploration that has seen him forge another legacy. Priory Of Brion, Band Of Joy, The Sensational Shape Shifters, as well as numerous collaborations with the likes of Alison Krauss, and now Saving Grace.
This was my first visit to the refurbished and renamed Bristol Beacon. It’s a fine auditorium, and the multi-million-pound works didn’t disappoint. Nothing too flashy, and the restricted seat that I had gave me a crick in the neck, but overall, the former Colston Hall looks fit for many years and concerts to come.
Before Saving Grace, we get Taylor McCall (7). Already seasoned from supporting Saving Grace last autumn the Nashville singer/songwriter/guitarist is a talented dude, and he takes his 30-minute opening slot with both hands. He’s enigmatic, slightly awkward in style and delivery, but when he lets fly with his electric guitars, it’s difficult to shift attention. He focuses on songs from latest album Mellow War, which for most of the audience is new territory.
He's got a bass player (sorry – missed his name) and a sole bass drum to add heft. His middle section relies on acoustic guitars, one for each song to avoid that tuning nightmare. I’ll be honest, the central part of his set merged into one, but that’s often the way with those delta blues. It’s with his final song that he throws everything at it, resulting in an exit on a high. Would I watch him again? Possibly not, but he certainly did his level best, and you can’t ask for more than that.
Formed in 2019, Saving Grace (10) is Robert Plant’s latest collaboration. He’s joined by a formidable line-up who are all incredibly talented. Alongside him, as they ease into Gospel Plow is Suzi Dian on vocals. The duo is a delightful pairing, Plant always happy to share and focus the spotlight on others, certainly takes a back seat at times as Dian leads. Her vocals are phenomenal, a rare talent, she is central to the way this band works.
Describing percussionist Oli Jefferson as an octopus is no understatement. His organic flow that switches from blues to folk to tribal styles makes it look effortless. He holds the rhythm, and although slightly out of sight from my angle, he’s as interesting to watch as the other members. On the next podium sits Matt Worley, who during the evening effortlessly shows his prowess on banjo, acoustic and baritone guitars and cuatro.
Formed in 2019, Saving Grace (10) is Robert Plant’s latest collaboration. He’s joined by a formidable line-up who are all incredibly talented. Alongside him, as they ease into Gospel Plow is Suzi Dian on vocals. The duo is a delightful pairing, Plant always happy to share and focus the spotlight on others, certainly takes a back seat at times as Dian leads. Her vocals are phenomenal, a rare talent, she is central to the way this band works.
Describing percussionist Oli Jefferson as an octopus is no understatement. His organic flow that switches from blues to folk to tribal styles makes it look effortless. He holds the rhythm, and although slightly out of sight from my angle, he’s as interesting to watch as the other members. On the next podium sits Matt Worley, who during the evening effortlessly shows his prowess on banjo, acoustic and baritone guitars and cuatro.
He’s an astonishing musician, unassuming yet integral to the performance. He takes lead vocals on one song, whilst his rich backing vocals add to the harmonies throughout the evening. That just leaves guitarist Tony Kelsey, who sits in semi darkness, happily switching between mandolin, acoustic and electric guitars, and occasional backing vocals. He’s another incredible musician. It’s a formidable collective.
The set comprises covers of traditional folk, americana and bluegrass, harnessed and gathered by Plant on his travels across the globe. He’s got an insatiable appetite for music and references many different musicians as the evening progresses. A reverential cover of Low’s Everybody’s Song is dedicated to the late Mimi Parker, whilst the main set ends with an extended and extremely enjoyable workout through Los Lobos’s Angel Dance.
Of course, there is room for a couple of Zeppelin songs during the evening. Four Sticks is dedicated to “My brothers”, a refence to Jones and Page, whilst my highlight of the evening was an emotionally charged The Rain Song, with Dian adding accordion, which, despite my usual hatred of said instrument, makes the song even better.
Between songs, Plant is relaxed, humorous, dry in with and full of enthusiasm and joy. It’s amazing to see how vitalised he remains, but then, he’s always been like that when I’ve seen him over the years. Making music is his life’s blood, and it seems the arteries are still rich. He references Machynlleth and Owain Glyndwr which receives a cheer from the many Welsh in the audience, looks back on his past with dry wit, and graciously laughs as Dian needs a member of crew to assist her with the accordion at one point; “we have people working for us” he jokes.
It all points to a relaxed, thoroughly enjoyable evening spent in the company of a true rock legend and his astonishing band. As the encore sees In My Time of Dying and Gallows Pole get an airing, one can only hope that he’ll be back before too long. An amazing evening from start to finish.
The set comprises covers of traditional folk, americana and bluegrass, harnessed and gathered by Plant on his travels across the globe. He’s got an insatiable appetite for music and references many different musicians as the evening progresses. A reverential cover of Low’s Everybody’s Song is dedicated to the late Mimi Parker, whilst the main set ends with an extended and extremely enjoyable workout through Los Lobos’s Angel Dance.
Of course, there is room for a couple of Zeppelin songs during the evening. Four Sticks is dedicated to “My brothers”, a refence to Jones and Page, whilst my highlight of the evening was an emotionally charged The Rain Song, with Dian adding accordion, which, despite my usual hatred of said instrument, makes the song even better.
Between songs, Plant is relaxed, humorous, dry in with and full of enthusiasm and joy. It’s amazing to see how vitalised he remains, but then, he’s always been like that when I’ve seen him over the years. Making music is his life’s blood, and it seems the arteries are still rich. He references Machynlleth and Owain Glyndwr which receives a cheer from the many Welsh in the audience, looks back on his past with dry wit, and graciously laughs as Dian needs a member of crew to assist her with the accordion at one point; “we have people working for us” he jokes.
It all points to a relaxed, thoroughly enjoyable evening spent in the company of a true rock legend and his astonishing band. As the encore sees In My Time of Dying and Gallows Pole get an airing, one can only hope that he’ll be back before too long. An amazing evening from start to finish.
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