There’s a reason Troy Redfern gets so many support slots. He’s become the go-to opener for just about every blues artist passing through the circuit, and the reason is simple: he’s that good.
Just like the last time I saw him—opening for Sweet before Christmas last year—Redfern plays as a two-piece with drummer Paul Annis – who stands throughout. The setup might be stripped back, but it adds a primal urgency and raw intensity that suits his music perfectly.
He opens with “Shakin’,” from his new limited-edition release “Retribution” and it’s everything great about him distilled into one moment. There’s an authenticity to Redfern’s blues, something that feels as real and lived-in as the genre’s roots — like Robert Johnson meeting the devil at the crossroads. Maybe it’s that century-old guitar of his, but it’s clear that every note is wrung straight from the soul.
“Taken My Soul” and “Native” both hit hard, the latter built around inventive percussion that gives it fresh life. His cover of “John The Revelator” remains a masterclass in controlled fire, while “Waiting For Your Love” and “Sanctify” close things out with power and passion. You get the feeling it won’t be long before Redfern is back on another stage somewhere — and with any justice, it’ll be one befitting his talent.
Then it’s on to Kris Barras’ latest incarnation, Hollow Souls — a project that might just be his most exciting yet. Barras has had an interesting career trajectory over the past decade, but this feels like a real creative reset. It’s been a long time since he sent “Lucky 13” my way to review, but crucially that record featured Phoebe Jane — who provided guest vocals on the standout track “Tearing Me Apart.” Seeing her now front and centre with Hollow Souls feels like things coming full circle.
Barras explains that some of the songs in Hollow Souls didn’t quite fit with his main band, so he’s built a new outlet for them — and it’s a formidable one. Joined by the stellar lineup of Phoebe Jane on vocals, Josiah J. Manning on keys and guitar, Paddy Blight on bass, and Chris Tilke on drums, this is a band of immense chemistry and musical depth.
Phoebe Jane is the linchpin, though — her voice propelling these songs skyward. From the opening “Borderline,” which segues seamlessly into a thumping cover of Led Zeppelin’s “Rock and Roll,” to the swagger of “Bad Things,” she commands attention.
The blues standards are handled with equal fire: “I Don’t Need No Doctor” and “Rock Me Baby” both smoulder, but it’s the Hollow Souls originals that truly shine. “Shotgun,” “Burn It To The Ground,” and “I Need The Fire” all hit home, while “Chasing Ghosts” — the only song Barras sings on the EP — stands out as a deeply personal and emotional moment that stops the room in its tracks.
There’s a reworked version of “Propane” that impresses with its texture and groove, and a heartfelt “Stormy Monday” that reminds you of the band’s deep roots in the blues. The final run — the anthemic “My Parade” and the soaring “Hail Mary” — proves beyond doubt that Barras is as good as it gets.
For the encore, Redfern returns to the stage for a joyous jam on “Goin’ Down,” with the whole band stretching out and showing exactly what they can do.
Hollow Souls might be a diversion for Kris Barras, a palette cleanser, if you will, before returning to his more familiar current territory, but it’s also something special. The self-titled debut EP is already one of the year’s best — and seeing it brought to life here confirms it’s far more than a one-off experiment.
If this really is just a detour, it’s an absolutely thrilling one.
PHOTOS: DAVID PICKLES
