Review: Jools Holland and His Rhythm & Blues Orchestra

DESPITE attracting one of the most eclectic fan bases anywhere in the popular music spectrum, Jools Holland and His Rhythm & Blues Orchestra still managed to find something for each and every member of an audience which once-again packed out Birmingham’s Symphony Hall.

The current 19-piece orchestra has played to thousands of people on the current tour and on the second night of his brief residency in Britain’s second city it was easy to see why the band remains so popular.

Belting out a mix of boogie-woogie, jazz, blues, soul and ska the setlist perfectly showcased the talents of the various musicians; each an expert on their own instrument and all exceptional when playing ensemble.

Such was Holland’s generosity that even though the show was all about his skills on the keyboards – demonstrated by numbers from his latest piano-inspired album – he was keen that each member of the orchestra had the opportunity to showcase their skills centre stage in a dazzling array of solos.

Sharing the limelight was Holland’s younger brother Christopher and his old Squeeze bandmate, drummer Gilson Lavis.

Sharing vocal duties with Holland were singers Louise Marshall and Bristol singer-songwriter Beth Rowley – who wowed the audience as much with her harmonica playing as she did with her voice.

Highlight of the night for many was the appearance of Pauline Black and Arthur “Gaps” Hendrickson who performed a medley of Selector hits including the standouts Too Much Pressure and On My Radio.

Their arrival on stage transported many back to 1980 when the Two Tone sound was indeed, on every radio – and every school disco.

The climax of the show came with the entrance on to the stage of the irrepressible Ruby Turner, whose collaborations with Holland have opened her up to a whole new audience.

Added to the fact was in her adopted home town, then everything was set for a rousing finish – and she didn’t disappoint; testing the auditorium’s outstanding acoustics with her amazing voice.

You could call it a curate’s egg of a show but there wasn’t one member of the audience who left without hearing something they liked and the standing ovation demonstrated the musician’s enduring popularity.