Legendary acoustic bluesman Eric Bibb is a two-time Grammy nominee and multiple Blues Foundation award winner in what has been a five-decade career of performing all over the world. His music fuses blues, jazz and world influences to create an exquisite and welcoming style that draws people in and together. He played to a packed audience at the Grand Opera House in Belfast, along with drummer Paul Robinson, bassist Neville Malcolm, and guitarist Stefan Astner. Ulrika Bibb joined the band for a song and local singer-songwriter Ken Haddock played a delightful supporting set.
1. Playing and listening to the blues can make you feel good. Eric Bibb kicked off his set with a John Cephas number, Going Down that Road Feeling Bad, which he prefaced with the comment, “which I’m not!” And neither were the rest of us in the packed, beautiful, oriental-style, old theatre, the Grand Opera House in Belfast, as we went down the road with Eric and his band for the next couple of hours. An evening with Eric Bibb sends you away with a huge smile on your face, which will last the rest of the week.
2. Always listen to your mother. Eric’s mom told him always to include his Don’t Let Nobody Drag Your Spirit Down in his concerts. Good advice. He had the whole place rockin’ with this one. And good advice with “don’t let nobody turn you around.”
Stefan Astner
3. You don’t have to play at 120 decibels or make squishy faces to be an awesome guitarist. Stefan Astner, Bibb’s long time guitarist, noodled away effortlessly on his Tele, almost in the background, tastefully adorning the songs, before stepping self-consciously forward on a few occasions for some terrific solos. Actually, truth be told, he could have done with cranking the volume up a bit.
4. You don’t tour with jazz legend Nina Simone for 20 years without becoming one of the most artful drummers I’ve seen. Boy, was he all over those drums, making full use of everything at his disposal, and – not often you’d say it of drummers – he was musical.
5. If you’re playing the blues, the spectre of racism isn’t too far away. Eric played With a Dolla’ in My Pocket from his 2017 Grammy-nominated album, Migration Blues (he should have won that Grammy), the story of someone he knows who escaped lynching in Mississippi, travelling to safety in Chicago. The genesis of the blues is in the Jim Crow South and songs like this are a stark reminder of the horror of those days – and a call-out to the racism that persists.
6. An unaccompanied song can be a powerful thing. Eric Bibb stood up from his normal seating position to sing Refugee Moan, also from Migration Blues. A stark reminder of “all those who are looking for a safe place in the world.” Wayfaring Stranger, sparsely arranged, was superb too and continued the theme. More on this in his newly released album, Global Griot.
7. In his sixties, Eric Bibb has hit a rich vein of creativity. He’s performing with as much energy and verve as I remember from first seeing him twenty years ago, and his song writing continues apace. He only performed one song off Global Griot last night – so the next tour is definitely one to look forward to.
Multi-Grammy award winning Ry Cooder has been making music and recording for the past 50 years. He’s a songwriter, film score composer, and record producer. A multi-instrumentalist, he is maybe best known for his slide guitar work,with Rolling Stone magazine ranking him eighth on their list of “The 100 Greatest Guitarists of All Time.” His latest album, The Prodigal Son, his first for six years, has been hailed as “destined to become an instant classic” (Daily Telegraph), and “completely fresh and contemporary” (NPR). MOJO declared it “A career-high.”
Along with his band – Joachim Cooder on drums, Robert Commagere on bass, saxophonist, Sam Gendel and the fabulous vocal trio, The Hamiltones – he played to a sold-out National Stadium, Dublin, having played there some 20-odd years ago. Here’s what we learned.
1. At 71, Ry Cooder can still command the stage and have a crowd eating out of his hand with the quality of his music and his engagement with the audience. He joked about going off to have a few hits of oxygen half way through the set, claiming that Emmylou Harris had got him into it by letting him use her gold tank a while back while playing together. Oxygen or not, he bounced back after a short break to give a barnstorming performance which featured superb versions of Jesus on the Mainline and How Can a Poor Man Stand Such Times And Live.
2. If you have a superb singing group in your band, why not let them take centre stage for a while? Which is exactly what happened with The Hamiltones, Ry Cooder content to let them have at it during his break and later on when he seemed to enjoy just playing a supporting role on guitar behind them. These guys from North Carolina – Antonio Bowers, James Tillman Jr. Corey Williams II – were terrific, three cool looking dudes with bushy beards and shades, with the sweetest tenor voices you ever heard. And they were not just backing vocalists, they were performers who know how to entertain. Their ability to recreate the sound of the old gospel quartet was perfect for the material of Ry Cooder’s new album, The Prodigal Son.
3. You don’t have to wear a beanie cap to be in Ry’s band – but clearly it helps! All but two members of the band sported a beanie – must get chilly up on that stage!
4. Putting a bass saxophone into the mix and giving it a few lead breaks might not seem obvious, but boy, it worked. Sam Gendel doesn’t look as if he has enough puff for that big baby, but when he launched into a solo in Everybody Ought to Treat a Stranger Right, we all sat up and took notice and the ground rumbled beneath us.
5. Updating a Woody Guthrie song with a contemporary reference made complete sense. Guthrie’s Vigilante Man morphed into a sharp commentary about Trayvon Martin, the 17-year-old African American teenager, who was fatally shot in Sanford, Florida, supposedly in self-defence. Blind Alfred Reed’s How Can A Poor Man, got a similar update, to huge roars of approval, with a riff on Donald Trump.
6. Cooder’s slide guitar playing really is something to behold. The technique on How Can A Poor Man where he played slide and worked the volume knob on the guitar at the same time was impressive.
7. And finally – about half the songs he performed were from The Prodigal Son, a carefully curated selection of blues and gospel from the early 20th Century, which really is Cooder’s masterpiece. The audience, presumably like Ry Cooder himself, may not share the faith of the songs’ composers, but their enthusiasm and appreciation was no less than for the other songs performed. These are songs that will speak to anyone, believer or unbeliever. The arrangements, musicianship and feeling are spiritually powerful. There’s humanity, decency, inspiration, hope in these songs, that anyone can feel. And in songs like Harbour of Love and Nobody’s Fault But Mine, we all felt it for sure.
[Find Down at the Crossroads’ take on The Prodigal Son here]
Ana Popovic, virtuoso guitarist, singer and song-writer has just recorded her 11th studio album, Like It On Top. Recorded in Nashville, and produced by four-time Grammy winner Keb’ Mo’, it features guest appearances from Kenny Wayne Shepherd, Robben Ford and Keb’ Mo’.
Popovic, born in Belgrade, now living with her family in the United States, was called by Bruce Springsteen “one helluva a guitar-player” and has been nominated for six Blues Music Awards. She was the only continental European artist to be nominated for the WC Handy Award (now Blues Music Awards) for “Best New Artist.” Her albums typically reach the top of the Billboard Blues Charts and along the way she and her six-piece band have shared stages with B.B. King, Buddy Guy, Jeff Beck, Joe Bonamassa and many others.
A child prodigy on guitar and a student of jazz guitar, Ana Popovic is widely acclaimed as an outstanding guitar player, evidenced by her being the only female to star on the Jimi Hendrix tribute tours, and NPR hailing her “fiery technique on the Stratocaster.”
Her new album is terrific piece of work, featuring some beautiful and truly exceptional guitar work, and funky, bluesy arrangements. Popovic not only excels in the instrumental department – her vocal performance on the album is very strong. And thematically, the album is important. Down at the Crossroads was pleased to chat to Ana about the record:
DATC: So, Ana, congratulations on the new album. It’s terrific, a really great piece of work, catchy tunes, sophisticated music, the sort of outstanding guitar work we’ve come to expect from an Ana Popovic album – and it’s had a great reception. We’ll come on to the theme of the album in a minute. But maybe you could tell us a bit about the making of the album and working with Keb’ Mo’, who appears on a couple of songs and whose presence you can feel on the album.
Ana Popovic: I’ve been a fan of Kevin’s for many years and obviously know his songs, and we’ve been talking about doing something together for many years. Finally, we met on a cruise and I said, I’m ready, I’ve got songs that I’ve started, so we said, let’s just get together and write some songs. And he came over to my home in Los Angeles and we spent a whole week – we would start at 9 o’clock and finish around 6 or 7pm. We would cook dinner with my family, and he was just like part of the family. And it was really a wonderful process, and maybe my favourite part of the process was that writing. I had some songs that I’d started and he would come up with something, and really, we were both very open minded. And that song,
Lasting Kind of Love was the first song we wrote and I think it was done in a matter of an hour or two. It went so smooth.
And then I went to his home studio in Nashville and we recorded there for two sessions of about ten days each and we recorded with Nashville musicians. It was wonderful to work with him and see how he works, which is very different from how I work, but we would meet somewhere in the middle. It’s a very dear record to me. It’s a really good subject, it’s got good stories. It’s very different from what I did before, which has always been the number one thing I go after – because I’ve been around for 15 years, and my fans need a reason to go out there and get a record. One of the reasons is a high-quality record, which I think I’ve done so far, and the second reason is it’s different from what they’ve heard before.
DATC: How would you describe the musical direction on this record?
Ana Popovic: I try to put out a new sound to Ana Popovic with every record. Obviously Trilogy had a lot of that, also the previous one, Can You Stand the Heat? And this one is following the same path, which is, pick out a little different sound and surprise people, and have them hear another sound, another style of Ana Popovic.
DATC: And you have guest appearances from Kenny Wayne Shepherd, Robben Ford. Tell us about working with those guys.
Keb’ Mo’
Ana Popovic: Well, it was wonderful, Of course, I have known both of them for many years, and I see Robben from time to time on the tour. I really love his style – I was sitting for hours, when I was learning to play the guitar, back in the day, with his guitar solos and I absolutely love his style of playing, he is one of a kind. So, it was wonderful to see him and have him play on a few of the songs. Kenny Wayne as well – he lives close by, so it was easy to schedule that. Kenny, of course, is a fantastic guitar player, and a different style to Keb’ Mo’ and myself and Robben Ford. He’s on the rock side, and it really fits the record and the song. He wrote that song, Sexy Tonight, so it was a nice addition to have him play.
DATC: Tell us a bit about what this album is all about and what you are trying to do with it.
Ana Popovic: The theme of the record is female empowerment. More females in the corner offices, more females in politics, in business – that’s the overall theme. I’m one of the women who does sort of a male job, right? Back when I started to play guitar, there were just a few female guitar players out there – Bonnie Raitt…but just a few – and I was wondering how other ladies juggle their work, how they convince their male colleagues that doing a male job is OK for a woman!
And obviously this comes from the whole movement right now, where women should have equal pay and equal benefits, so it would be a fair choice over who’s gonna stay home with the kids and who’s gonna go out and support the family. So that’s what I stand behind. And of course, I’ve got a band to take care of and an agency and management, but some of these ladies are in huge corporate offices with hundreds of employees, and how do they tackle family life and kids. Obviously, you need a strong partner who supports that or otherwise you have no choice. So, it’s more of a shout out to those kinds of situations, and more and more you see and hear about those families where the husband stays home and the woman goes out and makes money, and that’s just the reality, there’s nothing crazy about it. It’s just the new world.
Yeah, this is the overall theme, but there are different stories – about passions, about longing, about doubts, even about domestic violence in one of the songs and how a woman can actually overcome that, how some of them are strong enough to put a stop to that, which I think must be extremely difficult.
DATC: Some of the songs are quite hard-hitting, aren’t they? I’m thinking of the one you’ve just mentioned, Matter of Time, which is a terrific traditional sounding acoustic blues song with resonator/slide guitar. But it deals squarely with domestic violence. Which is a huge on-going problem for women all over the world, whether it’s the US & Europe or the developing world. I was reading recently that the UN says that 35% of women worldwide have experienced either physical and/or sexual violence.
Ana Popovic: Yes, it’s a problem everywhere. And when I write a song, I really have to find lyrics for dramatics. And blues is all about something dramatic, it’s got to feel real. And that song is very real, and putting it in that old school blues form felt right. Yeah, that’s one that I’m proud of.
DATC: And there’s a nice balance with this song, because some of the very old blues songs – you know, you go back to Robert Johnson and others, where the songs have terrible misogynistic lyrics – “I’m going to beat my woman until I’m satisfied” and so on – I mean it’s just awful. So, to get a song in that genre and style that is completely the opposite is really good.
Ana Popovic: Thank you! And we have Slow Dance, of course – I always try to get some sort of slow blues in there. I had Johnny Ray on Trilogy which is sort of a B B King style, but this is more soul-blues, something I haven’t done before. Slow Dance is a wonderful song and fun song to play live as well.
DATC: Yeah, I really enjoyed that one. But with it and Funkin’ Attitude where you highlight men who don’t keep their hands where they’re supposed to be and get “nasty, evil, mean” if they don’t get what they want – it struck me that you’re tapping in there to the problems that have been highlighted by the #metoo movement and the move to making life safer for women.
Ana Popovic: I guess so! But both songs are also really fun. Funkin’ Attitude is really about some huge, macho egos that I came across, and I’m thinking, how many other women come across this?
But the record is not about men hating, I adore men. And we need men to be on our side – so that’s why I chose my male colleagues to come and play. They all have strong women at home and they very much respect women, which is a wonderful thing. So, it’s really just about equality on this record. It’s that we both need to have the same chances – equal pay and equal benefits. Just the mindset that any job can be done successfully by a female or a male.
I adore working with men – I have a great band and wonderful fans that really support me, I have an incredible partner at home. I think it was just the right time, with the #metoo campaign and all the rest, with the actresses pushing for the equal pay, which I think is really fantastic. So, it was just the right moment to address that, in a nice way, musically.
DATC: And you’ve got that lovely song, Honey I’m Home which reverses the traditional man-woman roles and has the man welcoming the woman home after her day at work.
Ana Popovic: It’s a nice closure to the album. Kevin wrote that for me, for the record, and I thought it was wonderful. And it says to everybody that it’s OK to have things reversed like that, and it’s more and more happening. It’s progress, it’s the natural thing, and more and more people are OK with that. So yeah, I think it’s a good closure of the record.
DATC: And you’re touring the album at the moment – the US and then Europe?
Ana Popovic: Yes. We are touring here in the US in October and then November in Europe, and part of December. So, we have new songs to play. And we don’t even get to play all of Trilogy, because Trilogy gave us 23 songs in different genres – blues, funk and jazz. So, we got plenty of material, and it’s just fun to work the songs on stage and make them alive.
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