The background to the album is that it was originally meant to be recorded at the Albert Hall, but circumstances dictated otherwise, leading to a last minute change of venue. In that context both the band and producer Paul Long have done remarkably well to nail an essential live album full of Becky’s edgy vocals, the ensemble’s rip-roaring percussive style and their inspired interplay.
The band explores layers of expansive Afro-rhythmic textures with a Delta blues feel, shot through with a rocky edge. The kick ass rhythm section of drummer Tosh Murase and Adam Bertenshaw push vocalist and percussionist Becky Tate and the harp playing guitarist to the limit.
It helps of course that their material is an amalgamation of roots-rock, blues and folk that some might call tribal fusion. It’s a musical hybrid that readily lends itself to their intense version of ‘Gallows Pole’, a number that runs the full gamut of styles from folk to blues and rock. It’s easy to identify Babajack as a jam band who eschew structure for feel and spontaneity. But that would be to overlook their musical complexity, comprising sudden tempo changes and a subtle use of dynamics that gives tracks like the extended ‘Coming Home’ its impact. Thanks to B.
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