BMTH Unplugged Heats & Solid Air

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The Winchester is host to this years BMTH Unplugged competition. I gave 4 months of my Wednesday nights to this last year, so it feels weird walking in halfway through the heats, only catching what turns out to be 2 full artists tonight

Chris Woodford, 2 April, Winchester PubToby Fitton is winding up as I wander in; Chris Woodford offers his masterclass on how to musically beat the crap out of a guitar – not content with keeping this to Geoff (Mr Lively)’s Yamaha, Chris has a new toy to play with in a well-suited Taylor – 3 pickups, solid body, floating sound hole, ebony and bone neck work. This time he’s wandering about the stage a little to provide some interest, and also announces songs – previously unheard of from this past-master of just letting the music speak.

John Jfl Llewellyn at Winchester Pub, 2 AprilJohn Llewellyn follows up to close the night with some pure songs, nicely sung, with slight interest from the chord work. Shame that for me the lyric refrains are rather depressing – “why get hired when you’re gonna get fired” – though I appreciate the ludicrously high note he reaches for that last line to end the song on.

The Neon Mile, 2 April, @ Cellar BarOn to The Cellar Bar, where The Neon Mile are running through some of their staple numbers, slightly progressive, insistent beats and oh, those gorgeous melodies and the beautifully dissonant chordwork to accompany them. Miscreants, near the end of the set, is just an amazing anthem, just needs 3000 people swaying with a lighter in the air to make this any better. Weight In Gold has been given some new treatment, making it more upbeat than the recorded versions.

Jemma and Annie from Snow Wolf are here having played earlier, I should have saved myself the hassle of getting over to the other side of town (and the ensuing door fee) to hear these girls play instead, since I’ve not heard them for a while, and I hear they’ve really tightened up their act.

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Show & Bournemouth Unplugged Final

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Ali (and later, Martin) from Constellation join me in the studio this evening.  Despite being together and gigging for over a year, Constellation only hit my radar through entering the 2011 Dorset Music Awards, where they reached the Semi Final stage. I’ve written much about them as a result on this blog. 

Having the chat in the studio is enlightening about how they formed from friendships formed at classes in music technology, and how Ali was subsequently recruited as a vocalist.  We also talk a little bit about now old song The Flower Song, and about their supported charity Scotty’s Little Soldiers

The songs played are special exclusives, prepared yet unfinished cuts from their latest recording sessions, a CD to be produced real soon now.  As ever, really enjoyable, made more so by fan interaction via received texts, calls and emails from fans.

I’m then (in slow time) off to the Bournemouth Unplugged Final in O’Neill’s.  Its been a long journey from that first Heat in February, perhaps made more so by the mad rush to get from the studio to the bar in time to hear the first act.  Of the 32 acts entered, many have been amazing, I’ve picked up many new guests for the show. 

Of course there have been some that have been good, but just uninspiring – there are too many people that are picking up a guitar, strumming some chords and putting over lyrics – it’s not as easy as that, but even so need to be something a little bit different to stand out from the crowd. 

Overall, it has made for some nights of amazing music, even if it means continuous cajon playing (the unplugged bit effectively means no drum kits) for percussive accompaniment.  I’ve also been surprised to see my preconceptions blown away on some occasions, when having to structurally break down music into objective categories to define what’s best.

So, four acts in the final, Si Crockett, Chris Woodford, Phil King and Krista Green.  Every one of them plays what many say is their best set ever. The pub is absolutely packed – other artists from the competition, loads of fans of local live music, meaning the atmosphere is electric, and gives one a chance to catch up with nearlyeveryone who’s anyone on the circuit.  Enough of my ramblings, on to the prizes.

ITG song writer award.

This is for the best overall songwriter in the competition.  Martin from ITG productions wants to reward people with good original content and amazing tunes.  Goes to Ant Henson.

TL sound.

This is for PA hire, studio recording time and other related goodies.  Goes to Si Crockett.

Dreadlock photography.

This is for a free photo shoot by one of the upcoming portrait photo stars of the music scene, Old Bloke. Goes to Si Crockett, “for playing the best I’ve ever seen him play”

Purbeck Folk Festival.

Here Cath Burke is looking for an act that will fit particularly well into the vibe of this specific festival.  Goes to Krista Green.

Endorset in Dorset.

Gee starts by saying he isn’t used to and dislikes this judging lark (thanks for the support Gee, we’ve had to do this for 3 months!) and gets involved this time as the festival organiser available.  Goes to Chris Woodford.

New guitar (vouchers).

This was delayed with the main prize as they’re both awarded by Fiona, O’Neill’s manager. Its £350 worth of vouchers for a new guitar, since she wants the receipient to choose one for their style, rather than force something unwanted on them. Goes to Phil King.

Overall winner Bournemouth Unplugged 2011.

Finally we get to the end of the night – it’s been delayed (along with the previous prize) for 10 minutes beyond the others by Ant in the interests of suspense.  Fiona announces the winner as Krista Green, who wins a nice silverware trophy, a string of pub gigs at O’Neill’s bars in London, and rapturous applause.

Well done to all who entered and got through to any stage in the competition, particular shouts to Ant Lewis from Fairplay for organising everything, to Steve from TL Sound who’s been there each week driving the PA system, and to Fiona for setting aside most Wednesdays to allow musos to invade the bar mainly on their terms!  Also fellow regular judges Harry from Chaplins, Tone from bhone for the heats, Cath from Purbeck Folk Festival for sitting in occasionally, and Martin from ITG for taking some heat with me for unpopular decisions.

Show & Bournemouth Unplugged Semi Final 2

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Victor is in the studio with me tonight – eventually. He’s been suffering from car trouble, which is a little worse when said car is also one’s home when away from home.

Irrespective, he makes it for just over an hour, and what a delightful time it is, wandering all over as he reminisces about places he’s been, including national TV on his parents native Malta, where he spent his early years.

We play much from his latest CD Moonbeams, and hence talk some about the recording sessions (mainly all just one take, in a garden) and the reasons behind the songs. 

At the end I head off to O’Neill’s for the last of the judging sessions for Bournemouth Unplugged.  As ever, the notes here are those I jotted on the night for comment.

Krista Green

Krista GreenGood reception, working it by encouraging the crowd with clapping etc Well received throughout, yet not going absolutely nuts
Clear vocals, breath-y where it matters (2nd song)
Good eye contact
Walking Talking Catastrophe I like the harp-like sound she produces

Good variety of standard styles, pick, strum, percussive, staccato, well executed and chilled out
Overall a very clean set and pleasant, doesn’t grab me with excitement, as it is so chilled.

Wakes things up a bit with the last song through loop pedal use, yet tells us its an experiment so of course it doesn’t work out first time around (or 2nd or 3rd 😦 )
Once programmed up it is effective, and I like that she’s persevered with it – must be first use over a PA too. Unfortunately it all goes horribly wrong at the end, yet might have still worked had I not then picked up the “oh that didn’t work”!
So awards to trying, and I hope she carries on developing it as it will bring an extra dimension to her already accomplished set

Johnny Neesom

Johhny NeesomVery clever stuff, fast rapping over the plain chords
However, he’s running out of breath a bit (at least he recognises this) Again, clear vocals (they need to be as his performance hinges on that)
Not overfond of the near continuous swearing – he’s already had one song banned by the pub from previous appearances.
Sitting down is never going to deliver the energy that standing can deliver, even though this mode suits the songs he’s playing, which puts a sombre mood into things, even though he goes down OK with the crowd. He sticks to three songs as the last one Lullaby is symphony length.
As its a symphony style, there are multiple phases, picking, tapping, percussion, strumming, plucking, then harmonics as if a lap steel – all very open and laid back – it helps that I’d heard this at a session a few days back, as its somewhat familiar in places, albeit its perhaps 12-15 minutes long

Andy Stock Band

Andy Stock BandFirst impression is they’ve all dressed smart – except crockett. Even AJ has put a suit on for the gig!
Andy starts solo, then brings the rest of the band in with a “let’s do this thing”
Musically there’s a lot going on, and it takes some time for all instruments to be picked up.
Good bass lines and runs from Johnny, good guitar work from Andy, can’t really hear AJ’s harp or Ben’s banjo, and overall thiings aren’t really together.
For 3rd song AJ sings and Ben switches to violin, Andy joins AJ in a gravelly harmony
Things start coming together with a song castigating the modern tech life where we speak loads on facebook and through phones, yet can seem to be in a pub on our own a lot. The banjo is more audible, other things are less intense, and the song is a proper lament.

Phil King

Phil KingIts funny, I find myself willing him to pick things and kick them off, which I know he can do. Its Amanda (friend) that starts things going, trying to get people up and dancing.
Phil threatens to kick things off the stage literally, as Si Crockett has left his cajon on stage, comments about which get a good laugh
He then proceeds to give us a show and a half, good styles, good songs, good voice, good set.

Judges Result

This time (compared with last week) it’s fairly clear cut, all judges are of the same opinion.  The two Finalists are Krista and Phil, so congrats to them. When the results are announced this time, there’s no massive barracking from the crowd.  Its a shame it was so obvious, yet we still had four good performances.

Show & Bournemouth Unplugged Semi Final 1

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Solid Air HopeFM Kimari Raven Sofi ReedLiveWire Live! with Solid Air

My guests tonight are the delightful ladies Kimari Raven and Sofi Reed; Solid Air’s Conrad is my regular guest host. We spend a lot of time talking about the Oxjam fundraiser just been, where over £1300 was collected from a single day event.  There’s also a lot of focus on upcoming gigs, Sofi has one on Thursday at the Winchester, and Conrad is featuring Kimari at Monday’s Solid Air in the Cellar Bar. There are other things he’s looking forward to, we also feature some tracks from his archives looking back, and fresh music he has – it’s great having Conrad on the show as he has such a different outlook than myself on artists and music.

Embodied microphones!Sofi and Kimari have brought guitars with them, so we are serenaded – unfortunately for me, they don’t do one of their duets in the studio, however its fairly clear they’re quietly singing along to each other. We also have a bit of a laugh about Sofi’s elastic face – she pulls the most wonderful expressions while she’s concentrating on performing.

The first photo is while Kimari is playing Monster, the second of their faces obscured by the microphones as we’re talking about Sofi’s expressions. As can hopefully be gathered all in all it’s a fun time in the studio, and we head off together to O’Neills for the first of the two Bournemouth Unplugged Semi Finals.

Mischa

Mischa BU SF1Mischa is first up, he is active and moving, with just enough of a story between songs to keep interest before getting boring. There’s lots of noise in the pub, but he’s overcoming it. All through his set there’s lots of applause from all over the pub – I’m at the back for the first part of his performance and the activity is clearly visible from where I am, let alone from the judges table at the front. 

He has his lumberjack-esque looks with the check shirt, I’m really loving the energy all three are putting into it – there’s also more cello this time.  He goes for the growling lyric option in Overworked and Underpaid, which I feel works for the music and the performance he’s giving, though I think other judges disagree with me on this.

Chris Woodford

Chris Woodford BU SF1He’s brought two guitars with him tonight, yet starts playing on just one, leaving us some anticipation for what’s coming up.  He moves on into playing the harmonics by sliding the guitar on to his lap, dobro style.  Halfway through we hear the second guitar, before he uses a mobile phone to create some industrial sounds on the first guitar – while I’m not sure what that’s about, it’s something different and experimental, which I like.  He gives a big finish, huge volume and a huge energetic shout “Come on!” as he reaches his crescendo and ends.  The crowd react accordingly.

Bob Fletcher

Bob Fletcher Korozyf BU SF1In my mind I bet he’s thinking “How to follow that”, My answer to myself is by being the best that you can, he’s giving some good lively strumming then beat boxing, getting some reaction, not just from his crowd (although they start things off).  He performs a slow quieter song (with permission from the crowd, which is a nice touch) – this is brave and he pulls it off, +1 for originality!

For a couple of songs Korozyf joins him for MC’ing, then Bob gets the crowd clapping along before throwing things into a loop pedal and building a huge sound as a result.  He turns the loop volume down at the end using some fancy foot work while still singing – not seen that before, normally people stoop to control them, interrupting their unlooped playing to do so – this allows Bob to continue playing and is an impressive touch, hard to do and he pulls it off.

The inevitable Tom Jones is performed, and this time he rings the changes by not standing on chairs etc, but just wanders around a small part of the crowd, I like this as I expected him to do the same as before, changing it like that shows he can be flexible while still doing an impressive show.  Definitely my choice act of the evening.

Si Crockett

Si Crockett BU SF1Si is doing his usual material, of which much has previously been said.  We are treated to harmonies from Si Genaro, not just harmonica. Talking of the latter, he’s got “new shiny ones since his last ones got nicked”, as he puts it. Nacho Jase on Congas is putting on his own little show at the back – I later refer to him as Nutjob Jase as a result of his acting as “a yob at the back” – good fun.

Si also plays a slower song compared with the rest of his set, my difficulty this time is that while the three of them are tight as ever, they seem to have changed tonight into three individuals playing together, rather than a band (which was how Mischa felt like). Sunshine takes things up slightly before Cheeky Monkey rocks the place – there’s a hint that Genaro’ll go off on a 30 min solo, he doesn’t, and they move into last song Big Face Reggae, in all a brilliant show, I just feel not one of the best ones they’ve done.

Judges Result

We then move into counting up our scores, and adding an element for the crowd vote (which has been re-introduced for these rounds).  As ever we have been marking out of ten on Originality, Song Writing Ability, Technical Ability and Stage Presence/Audience Interaction.  The crowd vote adds another 10, 8, 6 and 4 in order of most votes received, making it 20% of the total.  There is an additional “clapometer” style score out of 5, and a “star quality Y/N ” for us to pick our favourite two.

I’m surprised to find that we have one act clearly ahead of all the others, the other three just have 0.5% between them, all scores are near the 150 mark (max points available 180 as we have four judges tonight).  We have to go to another (quieter) room to deliberate, as some of us aren’t happy about how these have panned out, and we know how important it is to get this correct.  Even so, we know that our results aren’t going to be popular, as the one with the most crowd votes (Bob Fletcher) has not been selected.  We’ve all had to make compromises in our choices, we agree to abide by our group choice, even if we personally disagree with it.

The finalists selected tonight are Chris Woodford and Si Crockett, so big congratulations to them, and big shouts go out to Mischa and Bob Fletcher, who did everything that was required and more, but then that’s what sucks yet is what competition is about, I guess.

The difficult part comes from the 15 minutes after we annouce this unpopular result, as some very vocal people think we’ve made the wrong decision.  I just try to take the flak from my mates and move on, although Fiona (O’Neills manager) has to step in at some point as things are getting passionately verbal between people.  Funny that I seem to be the only judge around at this point – makes me rather unpopular! 

Its a shame this mars the three hours of absolutely amazing music that have made the rest of the evening an entire delight for me.

Show & Bournemouth Unplugged Quarter Final 4

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Hessian join me in the studio tonight – or rather, four of the five of them.  Tilly (bass) can’t make it to town, yet phones to join into the interview conversation from wherever she is (London, I think).  The band have played other gigs in addition to the times I’ve seen them during the Dorset Music Awards, so there’s ripe material for discussion there. 

They’ve also been spending time recording some tracks – Sam is putting the finishing touches to their latest recording while we’re in the studio together, mixing the vocal takes. As we play it out towards the end of the show, they listen relatively intensely over the studio foldback, understandable since they’ve not heard it before!

We all make a sharpish exit from the studio, as I head off to O’Neills again to some shock news – Boyd and Wain have cancelled their appearance tonight in the Quarter Finals, effectively putting themselves out off the competition. I’m in two minds about this news – one half says that they are such brilliant musos they would provide a lively and enjoyable set. Many I speak to are also of the same mind.

My other voice is asking what is an act playing gigs in the States and who could easily book themselves a set of London sessions doing in a competition like this anyway.

Moot point really, they’ve pulled out, and Joel Gregory has slipped under the wire as act 16 (Saturday Sun also don’t get put forward for missing their Quarter Final)

Again I’m writing my comments on the fly as I hear the acts, in preparation to make statements to the audience here.

Tim Somerfield

Tim Somerfield Bmth UnpluggedQuiet intro – says “start where left off last time then on into different material” – don’t need to tell me that as I probably wouldn’t remember anyway.
2nd song clever chord work putting on syncopation with left hand. Also in 3rd song, and others – waiting for another style.
Obviously has his crowd here, yet not making the most use of them to my mind. Even at the end when I comment on this in my judges verbal response, there’s no reaction. Leads me to think of that line from John Cleese in the parrot sketch – Voomph? That wouldn’t Voomph if it had 2000 volts through it.
OK chat to cover tuning, fast de tune.
Confident patter for stage presence, yet not much else.
Strong clear voice.
Liked chord work on last one, shows a different style from what’s gone before.

Andy Stock Band

Andy Stock BandBefore start – Cast of thousands or so it seems compared to Tim’s solo slot.
Solo start then band come on one by one helps with working out the levels originally.
Like the reworking of a cover – making it yours – sounds like it was rewritten specifically for tonight?
2nd song a bit too long of similar repetition, still I like the personalisation. Sounds a bit muddy on the PA. Awkward when there’s 2 good PA guys in the band. Tight on the musical breaks.
Set seemed too short, turns out they have space for another song (which Andy solos) There’s a lot of talent there, could do with more polish.

Si Crockett

Si Crockett Bmth UnpluggedSi Genaro has lost his harmonicas this very night, so makes a little notice at the start thanking those who’ve rallied round and helped him out – first time I’ve seen him serious for a long time…
Laid back start, turning Ain’t No Sunshine into his own style. 3rd shows off Si Crockett’s voice with some high pitched crooning.
Big Face Reggae starts waking things up a bit, still laid back yet bigger audience reaction
Si C voice and Si G beat boxing save the day for Sunshine, was becoming a bit samey to my ears. MSSB (full title not repeatable here – Radio Rules) wakes up the stage a bit, a bit of action at the last.
A few ‘in’ gags regarding Small Face Reggae and Big Face Reggae (his non-unplugged band)

Joel Gregory

Joel Gregory Bmth UnpluggedBit of a surprise to hear him back.
He’s not doing that much of particular interest on the guitar. His voice is good though – clear lyrics
One very vocal crowd member
Turns out he’s a wildcard re-entry who responded when Boyd & Wain pulled out. This is a little unfair both on him and on others, however competition runners reserve the right etc. etc.

The winners who go through to the semi finals are announced as The Andy Stock Band and Si Crockett, this doesn’t go down too well with those who felt Tim Somerfield played the better set of at least one of those. Where some weeks have had very close results this time there is only a close-ish gap of 3% between each of the acts; I end up taking some time listening to Tim’s right to reply (as does Fiona, the sponsor of the overall competition) anyway.

Show & Bournemouth Unplugged Quarter Final 3

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Bit of a hit and miss show tonight – my guests baled on me with about 20 hours notice, so I populated the time instead with many promoters providing details of their wares:

Trev Hill from Dorset Music Awards: final in the O2 Academy this Saturday – unheard of to have local bands in on a Saturday night. Trev also talked about Smokin’ Aces (feat. Mutant Vinyl this Friday).

Tone Foster from bhone: a weekend of fundraising gigs for Julia’s House and Dorset Cancer Fund over the May Bank holiday

Andy Razz from Chaplins: the weekend highlights inc. Andy Stock band supporting Friday night’s entertainments.

Pete from Apples & Snakes regarding Thursday night’s poetry slam competition between Southampton and Bournemouth.

Finally a phone in from Dave of the New Forest Pit Ponies, who will be guesting on the Radio Boscombe show in a could of weeks.

As usual at present, I leave early to dash to O’Neills for Bournemouth Unplugged. Mischa starts and again I’m leaving my judging comments here.

Mischa

MischaVibrant. Great Up stuff
Timed percussion on Air I Breathe
City Breaks improv jam percussion. Good effort & different with the tone poem style. Don’t need to tell us (upfront) its a new untried song – we wouldn’t know otherwise
Only applause from crowd during set, whoops only from me that I can hear!.
Starting to sound samey y 3rd song Memories
Lots of patter from Mischa, including judge schmoozing !
lots (too much?) ukelele compared to cello
Great bop at end with Overworked & Underpaid. Typical Mischa putting his all into it.

Us judges get told off at the end for applying some constructive criticism vocally during our feed back section.
Only nice comments allowed vocally in the pub, it seems.  Specifically we’d mentioned the bit about ukelele rather than cello, and Mischa had changed his set that night as a result of comments from the Dorset Music awards.  My response was to ask him to turn and read the screen (where the Bmth Unplugged logo was displayed)!.

Dan Rumsey

Dan RumseyStill got those untrimmed guitar strings (that I commented on at DMA heats)
Nice choice of progressive chords in 1st song (missed name)
She Wolf different style guitar still similar vocally
Has a (vocal) posse with him, yet not really catching on around the pub (unlike Bob Fletcher’s masterclass last week)
“La’s” are brave and show confidence that hasn’t really been that present so far. 5th song.
Also tuneful wailing going up the octave
His stuff grows on you.

Phil King

Phil KingSounds surprised to have a posse. Starts with Life’s Rich Tapestry, one of my faves of his
Good variety chords, finger work,
Good banter to cover tuning, and noticed the out of tune (+1 tech recovered)
2nd Irish style ringing the tempo changes.
Clear lyrics throughout so can properly judge the song writing ability
Come Together is done in a totally gritty manner, taking a low chord approach rather than the high chord in the riff
Good intro to Iridescent Lightbulbs showing off a range of techniques before launching into a solid yet repetitive sequenced riff, broken by bridges and false endings
Good variety of song choices in the set overall – high originality for that.

David Mansell

David MansellGreat ballad opener – rich
Keeps it to a low key set for all songs
Clear voice, rich resonance on the guitar.
Great story telling through the songs.
Not really demonstrating different styles either vocally or on the guitar
Not the type of music to cut across here, which is a shame as it’s good mellow stuff

 On the night the two acts to gvo through are Phil King and Mischa – the latter only clear by half a point.  I feel a bit churlish as Mischa hasn’t stuck around, I suppose being ill and yet still perfoming like he has has to be taken into considedration!

Show & Bmth Unplugged Quarter Final 2

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Tonight the Table Top Circus joined comedy regulars Radio Boscombe for what promised and proved to be an amusing take on Sigmund Freud for the first part of the show. It was a bit of a mix up of a show, caused by my forgetting the 6 sides of carefully prepared research, and one member of Radio Boscombe running truant and needing to be reeled in by phone.

It makes for an interesting production style, having to continually think on one’s feet and improvise nearly a full two hour presentation. We pick up on the previous show, Drive‘s theme of the night, uniforms, as a fallback ad lib when our material dries up

Thank goodness I’d prepared one element online: a phone interview with Michael-James Dent regarding Dom Remi, coupled with an exclusive preview of their new song Midnight (now available on their myspace).

Dom Remi (pronounced Ree-Mee) are the band that were formerly known as The Metropolise. The Metropolise received a lot of radio play with their brash and raw sound. The lads recognised the rawness, and have polished themselves up a bit, changing the musical direction of the band in the process.

This change in musical direction warrants a change in name, in an attempt to prevent too much comparison. So, out of the ashes that were The Metropolise, we now have the phoenix arising that is Dom Remi. They are having a series of relaunch events including a renaming gig and EP launch on 14 May in Champions.

Towards the end of the show Radio Boscombe are augmented by Livvi, who we coerce into also giving an opinion on the evening theme of uniforms.

All in all, with everything going on, I was worn out even before going up to O’Neills for this weeks installment of Bournemouth Unplugged. Again the notes presented below are exactly what I wrote on the night, and used as a basis for my live comments on the night.

We are asked to mark out of 45, 10 points for each of Originality, Stage Presence/Audience Interaction, Song Writing Ability, and Technical Ability.  5 points are to measure the Crowd Reaction, clapometer style.  Finally there is a yes/no “Star” rating – do these guys have that undefinable something (the X factor of that show’s name).

Ant HensonAnt Henson starts, with a harmonica accompaniment this time (who’s name check I miss).
They are very animated together, fitting the music.
As they slow the music down, they slow the movement down to suit.
Great having the 12 string – boosts originality, yet doing similar chord work in the main
Unsure on 12 string tuning +1 if he notices, +1 if do something about it. Does it well with Krista filling in
Stereophonics The One cover – Laid back and totally different
Worked on the harmonies with Krista? If so it shows
Cheeky little beat box thing going on

Bob FletcherBob Fletcher
Big noisy songs
Strong intro then into a spiky number, beatboxing included, much like 2 or 3 songs in one
Good crowd working for you – Like the “behind the front row” comment
Looks really pleased to be here, infectious – great with Julian
Really developed in the past couple of years – good confidence
His staple Tom Jones has been taken to the next level
Wandering over the pub after teaching the singalong section
Then a quiet finish to show off different techniques, voice and guitar

Chris WoodfordChris Woodford
Has a rack of guitars with him rather than just the twelve string
Animated despite sitting on a chair. Great dynamics.
Can just never get tired of chris’ stuff
Outstanding
(another judge has written “Masterclass”)
Real mess about of smoke on the water – adding variety through slide resonator dobro

The Sabres The Sabres
Hard job following that! So what do you do? Do what you do best & come in strong and lively
Tight on the breaks
Kept crowd – hard for last act
Ritchie good voice
Lots of audience dancing

The top three tonight were separated by 1 point, with each scoring over 100: 103, 104 and 105 by the time all judges scores are collated.  The Sabres just miss out, as Chris Woodford and Bob Fletcher take the available Semi Final places. Congratulations to both.

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