While I have seen live acts here and there over the last several months, I didn’t feel like I had enough of a flavor to write a quality WLR post. I like to catch a good selection of songs that have my attention, so seeing a band in passing, such as at a couple recent Third Fridays, doesn’t really make the cut.
My intention last Friday was to arrive early enough to catch the back half of The Permilla Project as they opened up for the Paul Reed Smith Band. Unfortunately we finally made it there just as TPP was concluding their set, so we heard it – and they sounded really good – but we didn’t see it.
What that meant was we had to endure a (thankfully short) changeover which featured the tunes (and I use the word loosely) dished out by a DJ team that had two strikes against it: one, they were playing a horrible mix of music and, two, they had the most obnoxious ID loop that they played all too frequently. Look, I know you want people to know who you are but I really don’t need to hear it about every 60-90 seconds. And don’t try to come off all ghetto when we can see you’re a couple white guys.
If it’s cultural appropriation you want, done well, then you should have come to see the band. Then again, is it appropriation when the party is evenly split between races and the female lead singer is balanced out by the older white guy namesake of the band?
There’s no doubt PRS crafts a fine guitar, or so I am told, but he can certainly play the instrument, too. And the best part was that he looked and sounded like he was having a lot of fun. This wasn’t just a gig he was doing as stop 23 on a 40-city tour.
I’m what you would consider a recovering ’80’s hair metal fan, and although my musical horizons have been expanded quite a bit by doing four-plus years of record reviews, I still love my blues-based music. PRS had a heaping helping thanks to the good rhythm section provided by the Grainger brothers. (Besides PRS and the Graingers, the rest of the band is Michael Ault and Bill Nelson on guitars, and Mia Samone as the lead singer you just can’t miss – and not because of her electric-blue hair.)
Unlike a lot of other bands which play local events, the PRS band stayed away from doing cover songs – one exception was a long, drawn-out version of B.B. King’s The Thrill Is Gone – and instead played a variety of original songs. Presumably these came from the two albums PRS has put together over the years, 2011’s self-titled release and 2017’s Time To Testify.
(Interesting note in looking up the band’s history: they are a very big hit in China, of all places. I never thought of China as a nation that liked American blues, but it goes to show that music is a global language.)
Yet the beauty of the band came in how restrained the leader was. Obviously everyone knows there’s a virtuoso-grade guitar player on stage, and certainly he played an outstanding lead guitar where needed. But to his credit PRS didn’t make the music about him, which is probably why the band seemed to work together very well. As they are not a constantly touring band, I think that keeps them more fresh when they do play out.
I’m certain that the PRS band sent the folks hope happy – and not just because they were giving away copies of their CD’s to some lucky fans. I suspect they may be back for another event in the coming months because they probably gained quite a few fans in Salisbury.