Hugh Laurie
7/5/2011
RNCM – Manchester, UK.

I suppose I should begin by making it clear that this is not really a review, in the true sense of the word. I have been a dedicated fan of Hugh Laurie for a long time, in all of his various capacities. Therefore I find it very difficult to dish out any criticism of his playing, or song choices. So, less a ‘review’, and more a diary-entry from a love struck schoolgirl.

The venue was ideal for a show of this kind; being small and intimate, and filled with a tame, though decidedly middle class audience. The band walked on just after 8pm and started to play. Hugh was not on the stage at this point, and it reminded me of a BB King-style introduction, although not quite so extravagant! Hugh appeared about a minute later to a big applause. It was difficult to gauge if people were there for the music or to see the doctor from TV. I, for my part, have to plead guilty to both. Yes, I would still have attended if he was playing pop or metalcore, but as luck would have it he decided not to, and gave us an evening of my favourite kind of music – mostly blues, with hints of rock-and-roll and jazz.

Hugh was (as expected) talkative and hilarious throughout the show. Moreover, he gave an introduction to each song with a brief history of its origins. He began by introducing his (very talented) backing band, The Copper Bottoms... ('3 Americans; 2 Canadians' as we were told) and saying that any keen music student would recognise the song he was about to play. So followed a brilliant and heartfelt version of St James Infirmary. A deliciously dark opening to what was to be one of the best gigs I have ever been to. Immediately following this, Hugh played ‘Crazy Arms’, an up-beat Jerry Lee Lewis song which acted to raise the tempo of the evening.

For the rest of the show Hugh flitted between his grand piano on the left side of the stage, along to his aged Martin guitar at the centre. He played either the guitar or piano on all but one of the songs – Battle of Jericho – which he simply sang and stomped out, with the accompaniment of his band.

Hugh mostly covered songs by artists well known to most seasoned blues enthusiasts. He actively encouraged people to listen to the music of JB Lenoir, and played a wonderful stripped down version of ‘The Whale Has Swallowed Me’.

My other personal favourites of the night included Leadbelly’s ‘You Don’t Know My Mind’ which, among a few others, offered the guitarist and saxophonist an opportunity to show their instrumental prowess by taking solos. Hugh’s cover of the Leroy Carr song ‘Six Cold Feet (In the Ground)’ was also a highlight – a gloomy blues song with corresponding piano and voice from Hugh.

There were also two helpings of Jelly Roll Morton, in the form of ‘Buddy Bolden’s Blues’ and ‘Winin’ Boy Blues.’

A very short break in the music occurred when a small shot glass of whiskey was brought out to each of the musicians, which Hugh explained was their daily ritual.

Towards the end of the show, Hugh sat back down at the piano and played what was perhaps THE song of the night. He told of his agony with formal music tuition, and that he was never allowed to play this following song (Swanee River) and added it was nice to be able to finally play it now, in his fifties.

Not too far away was a rendition of the Ray Charles song, ‘Hallelujah I Love Her So’. Probably not the easiest song to get right vocally, but Hugh more than pulled it off, and encouraged audience participation.

The final song of the night was the James Booker song ‘Let Them Talk’ (also the title of Hugh’s record), with an encore of ‘Tipitina’ by Professor Longhair who, as Hugh told us, was one of his biggest influences.

The only thing I thought was missing last night was Hugh’s take on Robert Johnson’s ‘They’re Red Hot’. I was interested to know why he chose to cover that particular song on his album, and it would have been nice to have had a verbal insight from the man himself. The best thing about Hugh’s gig, for me at least, was the interesting variety in the set list. He went from well known standards to archaic and long forgotten pieces, and stamped his own style onto every song.