Back in 2024 Slash released “Orgy Of The Damned”. A blues record of which I said: “This is not some chin-stroking exercise in who knows more about blues music. This is a load of famous, talented people having what sounds like an orgy of fun.” You can get as sniffy as you like about covers albums but that was a cracker. It must have been a cathartic experience too, and one he wanted to continue, because even without the all-star roll-call this time, yer man put together Slash’s Blues Ball to take these songs out on the road, shows like this one in Denmark.
In the summer of 2024, Slash and the Blues Ball band see him joined by longtime collaborator Teddy “ZigZag” Andreadis (keyboards, harmonica, vocals), Tash Neal (rhythm guitar, vocals), Johnny Griparic (bass, backing vocals), and Michael Jerome (drums), for a run through much of what was on the record – and the joy of this set is hearing just how alive these songs are when the spotlight is off and the amps are warm.
After a brief Intro, “Parchman Farm Blues” gets things moving properly. Like the album itself, this is a blues fan having fun – but never at the expense of feel or respect. The voice of the singer, the sheer class of the band, it’s all right there. “Killing Floor” follows with real bite, before “Born Under A Bad Sign” settles into a groove that feels both reverent and loose.
“Oh Well” is where things really catch fire. The way the band attack the standard is stunning, and the harmonica is genuinely filthy, dragging the song somewhere darker. “Big Legged Woman” struts in next, full of swagger and swing, before “Key To The Highway” hits a moment of tension — a tough crowd perhaps, mentioning some of greats hadn’t quite been landing as expected, so this version grabs them by the lapels instead.
“Papa Was A Rollin’ Stone” feels like a trip back to the clubs of LA, the keys are wonderful here, before “Stormy Monday” stretches out into something epic and storm-laden. It feels exactly like what Slash would have had in mind — a world away from stadium rock, but entirely perfect.
“The Pusher” keeps things brooding and heavy, before “Metal Chestnut” (the only original written for rhe album) loosens the reins again. Then comes “Crossroads (live at the S.E.R.P.E.N.T. Festival)”, which somehow manages to stomp even harder than you’d expect. There’s so much enjoyment in these performances that it’s impossible not to get swept up in it.
“Stone Free” lets the band jam properly, stretching past the eleven-minute mark and sounding like they were always going to cut loose somewhere. When someone announces “gonna get psychedelic” ahead of “It Takes A Lot To Laugh, It Takes a Train To Cry”, given Slash’s journey it lands with a knowing smile rather than irony — and the playing here is just lovely.
“Shake Your Money Maker” closes things out leaning as much into country as it does the blues — loose, warm, and completely unforced. It’s the perfect final statement: no overthinking, no museum-gloves reverence, just great players enjoying great songs.
Like covers albums, you can be sniffy about live albums if you want – although I’ve never understood why – but “Live at the S.E.R.P.E.N.T. Festival” does exactly what the studio album did. Great songs, played by a band that clearly loves it.
Rating: 8.5/10
