But rareness, novelty, or familiarity isn’t what determines which toys come out to play. This time, there were some new members of Bonamassa’s ever-growing-and-shrinking collection of gear-which he spoke about at length earlier this year with Cory Wong on the rhythm guitar kingpin’s Wong Notes podcast for P G-pressed into service, including some recent-arrival Les Pauls, of course, and perhaps the most covetable collection of historic badass amps ever played on the Ryman stage. PG’s JB-that’s me-connected with Joe onstage before the show, where I also did a Rig Rundown with that other guy with my initials in 2018. And melded the music of Time Clocks with a selection of some of his favorite classic and original blues. But Bonamassa did dish out plenty of guitar flambé at his August 2 headliner there.
They don’t serve sorbet at Nashville’s hallowed Ryman Auditorium music hall-although I’m putting that in their suggestion box. I just try to make records that don’t bore me all the way through-we’ve got this groove covered, we’ve got that groove covered, let’s put a sorbet in, something out of left field.” “My ADD transcends into my musical life,” the other JB told longtime Premier Guitar contributor Joe Charupakorn in our December feature. Yet the result is as seamlessly Bonamassa as ever, with riveting guitar work that has echoes ranging from Africa to Led Zeppelin. His longtime producer Joe Shirley had to work with the powerhouse guitarist remotely, from his home in Australia. Watch or listen to their spirited chat on the links below and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitterand YouTube, where you can be notified about new content we publish on a daily basis.After moving back to New York City, Joe Bonamassa spent some lockdown time in Germano Studios in Manhattan’s NoHo neighborhood, tightly winding the music for his latest album, Time Clocks. Our unstoppable interviewer Rodrigo Altaf sat down once again with John Mitchell at the brink of the release of “A Model Life” and they engaged in a dynamic chat peppered with jokes, discussing Mitchell‘s creative process, how Craig Blundell drums made it to the album, what lies ahead for Kino, Frost* and Arena, the status of the upcoming tour dates and much more. “A Model Life” will be available as Limited CD Digipak, Gatefold 2LP+CD & as Digital Album. Meanwhile, with long-awaited tour dates tentatively etched into the horizon, John Mitchell declares himself ready and cautiously optimistic for whatever the future holds. In musical terms, “A Model Life” marks a notable departure from the synth-fuelled futurism of 2020’s “Feelings Are Good.” It hits harder than any previous Lonely Robot record, but with a warmth and wit that few can match. The new songs have a little more grit under their fingernails than any of their predecessors even if the relentlessly inventive, melodic splurge of his songwriting remains soundly intact. If the first four Lonely Robots offered wistful, sci-fi-tinged observations on the state of things, the new record “A Model Life” is perhaps understandably infused with the anxieties and ominous omens of the real life, present day. The thing I find most freeing about Lonely Robot is that I can just sit there on my own, get on with it at my own pace and not wait around for other people!” “Then we got to the end of the three albums and I had a discussion with the label about maybe not releasing the next one under the name Lonely Robot, but with true Germanic business sense, they said, ‘We have established the brand now!’ So then everyone’s wondering where the guy in the spacesuit has gone! But I don’t really care what it’s called, as long as I get to keep making music. “The truth is, I only ever intended to make three albums and then stop,” he laughs. But since 2015, John has been operating under name Lonely Robot: a solo project in all but name, it has enabled him to fully express his own musical vision, via some of the most vivid and fascinating music of his career to date.
As a member of such revered prog ensembles as It Bites, Arena, Frost* and his own projects Kino and The Urbane, he has become a uniquely vital contributor to the modern scene, while his credentials as a producer for countless contemporary rock acts are unquestionable. A lone soldier on the front-lines of creativity, John Mitchell has been at the forefront of forward- thinking and progressive rock for decades now.
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