Kris Dollimore

I actually had no intention of writing a review for this gig but after watching Kris Dollimore’s performance I felt it only right that I should. When it comes to the Blues, I must admit I’m quite indifferent, I’m not a fan nor do I particularly dislike it, it’s just not my thing. I know that most lead guitarists have an appreciation and an absolute love of playing the Blues, and they invariably get into playing them at some point in their careers; I have also recently been informed by a Blues officianado that no two Blues tunes are the same, and that Stevie Ray Vaughan plays differently to John Lee Hooker who plays differently to Eric Clapton who plays differently to Kris Dollimore etc. etc. However, to these ignorant ears, Blues is, by its very nature, 'samey’, and each tune seems to blend almost seamlessly into the next.


No, I went along to watch Dollimore because I know he’s a great guitarist and I am a huge fan of one of his first bands, The Godfathers, - now that was, and still is, my sort of thing – and also I’d like to think that I can appreciate quality regardless of the style. If something is played well it can be a joy to watch, and after watching this performance, it confirmed to me that Dollimore is absolute quality. I couldn’t even tell you the names of most of the songs he played – I believe one was called 'Caned’ while another had 'Ray’ in the title, both from his recently released L.P. – but that’s not the point. It was quite clear from the picking of the very first note that this was a man so into his music and so on top of his game that I was going to enjoy it regardless.

Almost the antithesis of the young upstarts who preceded him on stage with his sharp suit and tie and short haircut, this was a case of watching a pose-free, seasoned professional who was simply brilliant at his craft. The use of slide and change from electric to acoustic guitar certainly kept the interest going for this Blues ignoramus as Dollimore effortlessly blew away what had gone before him, and probably what went on afterwards – I must admit I wouldn’t know for sure because I didn’t hang about after his performance. The particular joy for me of this gig was watching a relatively empty dance floor gradually fill up as the gig went on. From the first song onwards, punters from various parts of the venue began to take note of the playing and duly arrived to check it out. In this respect, it was a masterstroke beginning the set with an instrumental because it literally lured the punters in. Feet were tapping, heads were nodding and from quite a wide-ranging age group. People at a proper music venue can recognise real quality and that’s what happened here tonight.

Part of Dollimore’s, appeal, as far as I’m concerned, is that he seems happy enough to play anywhere as long as he is playing – that clichéd term 'in it for the love of the music’ comes to mind - anywhere that is, as long as it is in the Home Counties and generally away from decent venues in and around central London which is why he tends to play quite obscure venues in quite obscure areas. Tonight was a bit of a treat in that respect and Kent’s loss was certainly Notting Hill’s gain. However, although London can be a bit of a nightmare regarding traffic and general hassle, particularly if you don’t live there, by steering clear of the metropolis, Dollimore is seriously limiting his audience, ensuring that far fewer people are able to enjoy his take on the Blues which is a real shame as I know he has put his heart and soul into these particular songs. Let’s just hope he will be buoyed enough by the reception he received at the Notting Hill Arts Club to play more decent London gigs at recognised venues where a greater number of people will be able to appreciate his very obvious talent. No, I’m not a fan of the Blues but I’m a massive fan of Kris Dollimore. A mesmeric performance from a class act.