Searching for the perfect round up to describe the first ever live gig in the UK by Black Country Communion has me completely stumped.  I suppose it's the complete opposite to Spinal Tap's infamous 'shit sandwich' review but I'll be fucked if I can find the perfect metaphor or in joke to start this review.   So please let me explain.

It's Monday night and I find myself in a crowd of around a hundred people made up largely of journalists, family and friends, along with a batch of competition winners.  We are crammed into one of the smallest venues I've ever been in to witness any of the smallest bands on the Uber Rock planet, awaiting the arrival of four of the biggest names in the rock and blues (you surely must know who I'm on about by now eh?) and the temperature is rising at an alarming rate. 

Black Country Communion take to stage with not much more than a few grins and a, "Are you ready?" from their legendary frontman Glenn Hughes before launching into album opener 'Black Country'.  In terms of setting standards, the four incredible gentlemen who make up Black Country Communion immediately set their own bar at a height that many musicians will never realise in a lifetime, and that was just in Hughes' chugging intro bass line to the aforementioned tune.  The "voice of rock" is most definitely in perfect condition and this is possibly the best I've ever heard him sounding. 

Witnessing such legends in such an incredibly confined space gives you the scope to scrutinise every wrinkle, ripple of every muscle and every bead of sweat that gleams with each pitch perfect note they produce.  I was absolutely astounded to actually be able to "see the music" on Glenn's face.  You knew just by his expressions when the band was going to fire on all cylinders or take you swooping through melodic rock tones that are at the best of times unachievable for anyone not of guitar whiz kid Joe Bonamassa's standing.

'One Last Soul' and 'Beggarman' follow in quick succession before Hughes introduces the band with himself as "The Old Man", Joe Bonamassa staring as "The Kid", Derek Sherinian as "The Mexican" and Jason Bonham as "The Redneck".  Collectively, it's really hard to focus on the band as a whole.  You initially get drawn in by Hughes' powerful, velvety toned vocals, then Joe Bonamassa diverts your attention, demanding your respect for his capabilities as a blues rock guitarist at the very top of the pile. Then Jason Bonham steals your attention with his hard hitting classic Bonham style drumming with his own individual twists of powerhouse originality; as he pinches a few bpm's from some parts and loans them to others faultlessly.  Derek Sherinian, although maybe seen as the more subtle and quiet one of the team actually gives Black Country Communion the all round sound that they couldn't achieve without him and tonight Glenn rightfully recognises this when he calls him a virtuoso keyboard player.  He sure looked like the King of Keys from where I was standing.

'Song of Yesterday' which sees Joe showcase not only his fiddly finger work but also his ability as an incredible vocalist is up next.  If this is at all possible, I think he's actually grown in the few rehearsals next to Hughes and their harmonies in this track are nothing less than breathtaking.  'Stand' and 'Great Divide' are given cracking renditions before the band play Trapeze's 'Medusa', which actually seems to lift the roof and rattle the foundations suitably. 

Wrapping up an hour-long set of pure perfection with 'Sista Jane', I'm facing the stark realisation that this is quite possibly one of the best gigs I have ever seen in my life. As bold a statement as that is, I am truly humbled by the fact that I was invited to witness these amazingly talented men promote an album that technically does not need promoting as their collective pedigree alone could sell out theatres worldwide. 

I suppose, the fundamental difference between Black Country Communion and any other super group or band for that matter, is the genuinity of their music and song writing, without any of the usual egos.  Something that could be witnessed during the climax of the band's set, when Jason Bonham treats us all to Keith Moon's solo from 'Won't Get Fooled Again'.  What a perfect ending to a faultless show.

Photo Kudos to Christie Goodwin