Jared James Nichols is about 40 minutes into his set this evening, right in the middle of “Good Time Girl”, when something happens. It’s not immediately clear from the stage what’s gone on, but drummer Ryan Rice taken ill and needs attention off to the side. A worrying moment, and one that sends a ripple of concern around KK’s. While it’s being dealt with, Nichols launches into a fiery burst of “Voodoo Chile”, buying time and keeping the room calm.
Before we get there, though, it’s worth winding back to the start, because as ever with Jared James Nichols, everything is about the music. There’s no pomp, no dressing — just that raw, easy-come rock ’n’ roll he’s built a career on. A couple of years ago he released his self-titled record, following “Hard Wired”, and this run through Germany and beyond has him in formidable form.
He tears into “Easy Come Easy Go” early, setting the tone, and “Threw Me To The Wolves” arrives with those thick, blues-drenched textures and grooves with a bit of mischief — even slipping in a cheeky snippet of “Miss You” for good measure. There’s a touch of Stones swagger, a mention of wanting “blues power” later, and having the skill to do it all.
Nichols himself reinforces the throwback feel. He talks about him and his friends writing songs about old cars, old clothes, and old music — and that’s exactly where “Way Back”, the one he wrote with Tyler Bryant, comes in. It fits perfectly with the sentiment: rooted in the past, honest to the core, and delivered with total conviction.
Earlier in the day he’d even posted privately on Facebook that he’d made an unannounced visit to Stoke to see the Lemmy statue, just to pay his respects. It’s exactly the sort of thing he’d do: if he wasn’t on the stage tonight, he’d be in the crowd watching.
He follows that with “Pretend”, which only underlines the point: for all the talk of nostalgia and influence, there’s nothing fake about Jared James Nichols. Nothing pretend. Everything about him is real. He belongs on the road, belongs on a stage, and wants nothing more than to be exactly where he is.
Andy from support band The Soul Revival comes out for a jam on “Mississippi Queen”, and in the process, Nichols uses a guitar pick for the first time since he was about 15 years old. Then “Good Time Girl” rolls around, Weaver falls ill, and the night changes.
Credit to Nichols: most artists would have called it there. Instead, he gets Karl — drummer for The Soul Revival — behind the kit to help finish the set. The first thing Karl plays is the end of “Voodoo Chile”, seamlessly slotting in to keep the show moving. Determined to give fans something for their money, Nichols then plays solo versions of “Now Or Never” and “Nails In The Coffin” before heading backstage again to check on his friend.
Weaver isn’t able to return, so Nichols closes in customary fashion with the Alice In Chains classic “Man in the Box”, delivered with that thunderous, grin-inducing power that only he can muster. Karl, who had watched the song twice backstage earlier in the evening, now finds himself actually playing it — and rising to the moment brilliantly.
Of course he’ll have better nights than this. Of course he’ll have nights he enjoys more. And certainly nights where things run smoother. But one thing is undeniable: this is live music. This is what Jared James Nichols thrives on. And he remains a tremendous exponent of the art.
PHOTOS COURTESY OF MANNY MANSON
