Philip Sayce (Page 2 of 2)

Sage 2; Gateshead - Nov 22nd

So, how many times have I come away from a bloody good night's music and said to one or all the bands, "Let's do this again, soon!"? Bloody 'Ell, I didn't expect this pairing to take up the offer, but when it's Troy Redfern and Philip Sayce, who's gonna complain? The only thing, this time around they changed the venue - probably to protect the uninvolved.

So I've seen Troy many times now, and he never disappoints, but this was a different guise for me, a stripped back duo, with Nicky Waters on percussion (couldn't quite call it a drum kit). So, I was kind of expecting a "rockabilly" vibe, but once Nicky started pounding the kit, it was more "tribal" with Troy being our shaman for the session. The overall effect, gave Troy's sound a "darker" edge. Okay, being totally honest, the Resonator on the 1st song was a little low in the mix, but that got sorted in the 2nd number, and from then. we were flying. This I think is part to another 1st for me with Troy: I've seen him in any number of bars and clubs over the years, but this was a 1st in a purpose-built music venue where the sound is recording quality. Once used to the sound, it opened a different facet of his playing; well used to the buzz-saw riffs, now I could hear some of the deft work behind them as the sound filled the room. Not that that or the size of the room was an issue; the guys took the stage, and for the [too short, to me] set, owned it.

And after a short break, Philip Sayce & band took the stage; the best "power-trio" since Beck, Bogert & Appice. Loud? Definitely. Indulgent? Certainly. Arrogant? Not a trace. Energised clearly by last year's "come-back" to the UK (the 1st shows in a decade), he was out to paaarty. This was the biggest stage I've seen him on since a Holmfirth double-header [with Joanne Shaw Taylor] and the opportunity to really stretch out wasn't wasted.

This time last year, the new album was being prepared for release; this time around the new material has bedded in and works well with the older numbers from Steamroller and Spirit Rising though really, the set hasn't changed that much. However, on this stage, it was obvious that he didn't feel as constrained as at The Cluny, and was able to prowl and bounce around in equal measure. At one point, things got so physical, Philip managed to break the guitar-strap (breaking strings is for wimps), but, like the moment on the Melissa Etheridge DVD, he managed to hold that guitar like an errant pig-skin and make the 30 yard dash to the endzone. And the bigger room was able to accommodate the bigger sound; smoothing out the distortions so that every note struck was heard; be it the 15 second sustain through to the "thousand notes a minute" runs.

What a great night, watching a master; make that 2 masters at work. So, dare I ask? You guys up for it again?