The Black Crowes, Live - Brixton Academy, London UK, April 9, 2008

Slow and tuneful, "Seeing Things" changed the mood, with the audience singing back during the choruses. A light, day-glo Hammond solo added delicate magic to the melancholy of the song, while Chris got a chance to show off his prodigious singing talent during this number, using his multioctave ability to the full. Two soul sisters backing up his leads proved to be a remarkably well-modulated vocal powerhouse, making the song float with gorgeous fluidity, unfortunately both barely seen at the back of the stage.

The new material was eagerly awaited by everyone that evening, and "Walk Believer Walk" became the second song from the new album the band played that evening. A rootsy number meshing gospel into rock'n'roll, it worked up a thumping groove right off the bat, taking things back to the fundamentals of the band's spiritual origins. Raw-edged, soulful, and stripped of refinements, it hit the jackpot with a gritty groove, its basic theme pointing directly to the sources of this band’s inspiration.

		The Black Crowes Brixton Academy, London April 9, 2008 review & photos by Alissa Ordabai
		LINKS: blackcrowes.com myspace.com/theblackcrowes
Brimming with rock fans, bohemians, celebrity guests, journalists, and hordes of aspiring young musicians, the 5,000-seat Brixton Academy on the night became the bustling epicenter of rock'n'roll glamour. From photographer to the stars Ross Halfin in the photo pit to Chris Squire, Steve Hackett and Justin Hawkins in the audience, the London rock beau monde invaded the already packed venue the band could have sold out 5 times over in vast numbers. The Crowes' freshly released, first in 7 years album Warpaint, as well as this show being their only UK date this time around, both sparked the hoopla. And keepers of the blues-rock flame didn't disappoint, showcasing the new record with confidence and poise, for good measure throwing in all of the fans' favourite hits to their two-and-a-half-hour set. Moments before the start of the show, a whiff of familiar herbal scent spread among the front rows, prompting security to launch a decisive search operation. But before amused punters could get a chance to point at two massive bundles of incense sticks a roadie had just lit on both sides of the stage, a deafening noise from the rest of the crowd put a stop to the investigation. Members of the band all at once appeared on stage amidst clouds of pungent smoke.
A strident, sprawling version of "Wounded Bird" from the new album, opened the show with a propulsive groove, the band's whopping onstage immediacy bypassing the brain and going straight for the gut. Singer Chris Robinson, wearing a thick woolen coat and sporting a now customary in this band Lennon Bed-In style beard, instantly became the visual focus of the show – smiling and cheerful, delivering his moves with stylish assurance. An irresistibly charming showman, the quality which stays with him regardless of what goes on, he unreservedly embraces the role of the band’s focal point, willingly delegated to him by his slightly detached brother Rich and the rest of the crew. His simple dance moves, little swirls and leaps, and the way he swung the microphone stand were so effortless and had so much style to it that you were left wondering if a man could be more laidback while cutting such a captivating figure. Following the example of the crowd, photographers in the photo pit broke into an applause once the first song was over - something this writer had never witnessed before. The band interrupted the deafening noise from the crowd seconds later by launching into "Sting Me" - a rousing showstopper firing on all cylinders in raucous blues-rock swing, a forceful, hard-hitting number which, judging by the reaction of the audience, remains one of the best-loved tunes in the band's repertoire.
Slow and tuneful, "Seeing Things" changed the mood, with the audience singing back during the choruses. A light, day-glo Hammond solo added delicate magic to the melancholy of the song, while Chris got a chance to show off his prodigious singing talent during this number, using his multioctave ability to the full. Two soul sisters backing up his leads proved to be a remarkably well-modulated vocal powerhouse, making the song float with gorgeous fluidity, unfortunately both barely seen at the back of the stage. The new material was eagerly awaited by everyone that evening, and "Walk Believer Walk" became the second song from the new album the band played that evening. A rootsy number meshing gospel into rock'n'roll, it worked up a thumping groove right off the bat, taking things back to the fundamentals of the band's spiritual origins. Raw-edged, soulful, and stripped of refinements, it hit the jackpot with a gritty groove, its basic theme pointing directly to the sources of this band’s inspiration.
	The crowd began dancing from the word go to "My Morning Song", which started off as a strident stomper and later on developed into a quasi-mystical extended jam. Slowing down the groove mid-song, the band went into psychedelic spaced-out levitation with dreamy tempos and ostenato passages, the hypnotic rhythm section floating Chris's throaty blues cries. Expert groove crafters, while diving head-on into the eclectic world of rock improvisation, the band not only managed to find focus in the maelstrom of this 15-minute jam, but kept it a firmly directed trip, sticking to the axis of the song amidst the indulgent hedonism of mixed time signatures, shape-shifting forms and changing moods. "Wiser Time" was another standout with extended solos spotlighting both guitarists Luther Dickinson and Rich Robinson. Dickinson, of North Mississippi Allstars fame, understands the nature of the Southern tradition perfectly, his intense but at the same time balanced leads tearing down stylistic barriers between blues and rock, drawing a lot from time-old formulas, but managing to make personal use of what has been received, guided by his own instinct and natural feel for the instrument.
"Goodbye Daughters of the Revolution", the most vivid highlight of the new album, was saved for the closing stages of the show, and swung with brashness of youth resembling the band's 1990 debut record, the singalong chorus and goodtime vibe remaining true to the recipe which catapulted the band to stardom all those 18 years ago. Vintage blues-rock sizzlers "Jealous Again" and "Remedy" were both sumptuous treats the band played before launching into a three-song encore with lush, languorous "Sometimes Salvation" concluding the show on a reflective note. The combination of experience and naiveté, calculation and innocence this song presented so eloquently somehow summed up not only the spirit of the show, but also what this band has been about since its very conception. A rare ability to unite the opposites is at the root of the success they have managed to sustain despite consciously staying out of step with cutting-edge trends. Better than anything else it shows that you don’t always have to swipe the slate clean to achieve greatness. Sometimes all you have to do is remain authentic while you apply imagination to tradition.