American blues legend Joe Bonamassa’s latest offering comes in the form of another live album, but a live album with a twist. Live at the Hollywood Bowl is an album of epic proportions as Bonamassa is accompanied by a 40-piece orchestra to give his songs a new sound. Reworking your existing music into an orchestral journey is not a thing that a lot of artists are brave enough to do. But when it is done as well as this creation from Bonamassa and conductor/composers David Campbell, Trevor Rabin & Jeff Bova then it’s evident that the effort has paid off. The soaring orchestral overture to kick off the album is When One Door Opens with soaring strings and brass, and intermittent timpani making its presence known. This leads into an epic arrangement of Curtain Call, that gives very strong Zeppelin vibes-no complaints from me! The staccato strings and blues guitar blend and complement one another, with the 2 eventually going head-to-head in what feels like a battle of 2 sides. This track is a 9-minute cinematic masterpiece that conveys a whole story, even in the moments where lyrics are absent.
Self-Inflicted Wounds with its slower pace and mournful lyrics slowly crescendos into the bridge, which leads into an iconic guitar solo with the strings providing an added dramatic edge to the song. No Good Place For the Lonely, Ball Peen Hammer and Prisoner all make for further great listening with their individual arrangements further proving that blues rock can be blended seamlessly with a full orchestra. The Last Matador of Bayonne has had a beautiful reworking, with the track beginning with a hauntingly beautiful Spanish-esque trumpet solo added to the introduction. The slow swing groove itself sets the mood, whilst the strings in this arrangement add a deep emotion that soar over a subtle brass backing, whilst also complementing Bonamassa’s mournful guitar tone. This is certainly one of the highlight tracks on the album.
The broken-hearted blues feel of If Heartaches Were Nickels delivers a doleful string layer which dominates the track along with intermittent accompaniment from the woodwind section. Together they build and build into a dramatic instrumental midway through the long which leads into another iconic solo from Bonamassa. The last section of the song has one of the backing singers taking over on lead vocals, and you’d be forgiven for thinking that Janis Joplin has risen from the dead (albeit with a slightly higher register) as the vocalist’s brilliant pipes are showcased. The Ballad of John Henry provides a heavy bass and guitar riff which gets your body involuntarily moving to the beat, as Bonamassa’s vocals are on point as usual.
Twenty-Four Hour Blues offers up a funky blues beat, whilst the orchestra takes a subtle backseat on this track. Another heavy bass riff and blues keys brings the band to the forefront, as does the sublime guitar solo that continues right to the outro. Rounding out this musical journey is a moving rendition of Sloe Gin. The quiet keys intro sets an intimate and sombre tone, whilst Bonamassa’s emotional vocals hit you in the sweet spot as his guitar all but weeps its melody throughout the song’s entirety.
This is an outstanding live album that delivers the goods, and with the full orchestra behind a talented and well-established musician like Joe Bonamassa, it adds so much more depth and emotion to his already excellent repertoire. The additional layer of being a live show also provides a realistic and raw experience for the listener to completely immerse themselves in. The execution of the entire project has been well worth the risk, and I think fans new and old will be thrilled with this album. Bonamassa himself is flawless both vocally and musically throughout the entirety of the album, and I can see why his fan base is forever growing. An impressive live album for the books, this is one that I recommend checking out.
8/10
