Freo’s rhapsody in blues
FESTIVAL
West Coast Blues ‘N’ Roots
Fremantle Park
Sunday, March 29
Review: Harvey Rae
4.5
There are acts touring the nostalgia circuit looking to top up superannuation funds and there are those who belong on stage. This year’s West Coast Blues ‘N’ Roots, attended by a reported 11,000 punters, excelled in presenting the latter.
Headliners the John Butler Trio don’t fit the nostalgia tag but Freo’s favourite son shone on the main stage. Working extended cuts of Blame It On Me and Pickapart next to Used to Get High, it was the solo instrumental Ocean that set the festival alight. It’s hard to imagine a bigger sound coming from one man and a guitar.
The pull to see George Clinton and Parliament-Funkadelic in the big top for perhaps a final WA performance was strong, but sound issues dogged their madcap set. With up to 15 people on stage the funk legends were shambolic.
The big top featured plenty of stand-outs. Jurassic 5 owned their set with hits (Concrete Schoolyard, Freedom, What’s Golden) and hip-hop showmanship. DJs Cut Chemist and Nu-Mark doing their “toys” set was a show-stopper, scratching on a turntable guitar and a giant record player centre stage.
Perhaps the greatest living reggae legend in Jimmy Cliff and an eight-piece band combined his own Many Rivers to Cross with signature cover I Can See Clearly Now. Mexican instrumental guitar duo Rodrigo y Gabriela wowed with Led Zeppelin and Metallica covers, flamenco-inspired originals and dashing fretboard skills.
At the main stage, Paolo Nutini and David Gray brought big productions and familiar hits to prime-time slots, Gray getting a big singalong for Sail Away. Paul Kelly presenting the Merri Soul Sessions failed to fire, although his customary take on How to Make Gravy was redeeming.
Surprisingly, the day’s biggest highlights came before 3pm. After Lanie Lane played reportedly her last song ever, No Sound, Californian soul singer Beth Hart dialled up the spunk and delivered a proper American rock show. On a day of big voices, Hart’s pipes delivered the knock-out blow early. Then Mavis Staples took us to church with the extended gospel of I’ll Take You There, working so hard she needed a 10-minute break mid-set.
But show of the day went to Charles Bradley and His Extraordinaires. The Screaming Eagle of Soul is the most natural performer imaginable, and wore hard times on his face and in his voice for How Long and Confusion.
On a day of acts that belong on stage, no one deserved to be there more than Bradley, the ultimate rags to riches superstar who at 66 is only now getting the recognition he deserves.
