Joe Satriani @ Symphony Hall, 2nd November 2015
It is with considerable shame that I realise, in the pantheon of modern widdle-wizards, that I am not particularly au fait with one of their great elder statesmen: Joe Satriani.
For ‘Satch’ has inspired, or taught directly, many modern guitar heroes who have gone on to great commercial and artistic heights, among them Alex Skolnik, fearsome slinger of thrash-rabble Testament, the renowned Steve Vai, and Metallica’s Kirk Hammett.
Being an avid disciple of fellow axe-mashers Ron ‘Bumblefoot’ Thal, the mysterious Buckethead and the frighteningly talented Guthrie Goven (look them up), the time was right to lift the veil on a man already surpassing their achievements when they were still figuring out Smoke on the Water.
Touring in support of his acclaimed 15th album, the excellent Shockwave Supernova, Satriani brings a near-unmissable show to Birmingham’s Symphony Hall.
But first, frighteningly talented newcomer Dan Patlansky rounds off a smouldering support slot of gravelly blues rock by removing his road-worn Stratocaster’s strap and teasing all manner of squeals from the instrument, playing it with everything but his teeth. One to watch out for indeed, his voice is an impressive combination of paint-stripping roar and rich, soulful blues.
He almost instigates a cowboys Vs. astronauts musical debate, his blues-rock contrasting with Satriani’s signature space oddities. But it’s a generous difference that brings musical diversity to the evening, allowing for exploration of different guitar genre spectrums. His star is surely in the ascent, and deservedly so.
An intro video shows clips from Satriani’s upcoming animated television series Crystal Planet, before he and band assemble and slam into Shockwave’s title track.
The prospect of the lone guitarist leading a band has always been a slight quandary, for the discerning audience: how to react, and show appreciation? The luxurious surroundings of the Symphony Hall, the jewel in the crown of Birmingham’s venues, allows for studious examination and pointed appreciation of Satriani’s frenetic fretwork.
Indeed, those gathered tonight are spookily motionless, save the odd cheer and applause post-solo, springing to life when Satriani and band sprint through another number
And what a band it is: as befits a world-class musician, he is backed by a fantastic ensemble: German drum-monster Marco Minneman (who leaves his mark with a mesmerizingly intricate, breakneck-speed drum solo), the excellently skilled Bryan Beller on bass, and Mike Keneally on guitars and keyboards. Keneally is a highlight amongst highlights, hopping between guitars and keys, sometimes attempting both simultaneously, and seemingly matching Satriani with a blistering electric solo.
While the prospect of ‘shred’ guitar can be a pulse-weakening affair for some – with Zakk Wylde being an occasional offender for show-stopping indulgence – Satriani infuses the look-what-I-can-do unashamed acrobatics with a keen sense of melody, keeping reigns on the overall song and never allowing the soloing to spill too far out of its paddock.
But only a fool would expect anything different: solo shredder shows are exactly thus. Satch dabbles sparingly in excitable between-song patter, clearly having the time of his life and bringing infectious enthusiasm.
A trio of screens and a small army of lights back the band, solving the issue of having a bald sunglasses-wearing man as a focal point — something Tool have long since dealt with by drenching the retinas in artistic audio-visual barrage. Satriani’s iconic Ibanez, shades and massive grin combo makes him a far more palatable frontman, however. His spellbinding string-work remains a consistently absorbing laser-beam of sound for the duration, of effortless grace and composite skill.
Review: James Stokes (@jhstokesjourno)
Photographs: Dave Musson