The Honeyboy Hickling Band at Garston Royal British Legion, Liverpool, Saturday, 23 April 2010

There are few bluesmen that could successfully follow a Hamilton Loomis gig but, fortunately for the punters at Garston RBL, harmonica maestro, Simon Hickling, is one who sits comfortably in that exclusive category. Backed by his excellent band, the Honeyboy hit the floor running and maintained his customary, exhilarating pace throughout a highly entertaining performance. He was also in a particularly exuberant mood and the humour flowed like honey to complement the wonderful music.
The first set mixed a couple of Little Walter numbers with cracking versions of “Messin’ With The Kid” and “Broke And Hungry”, with due deference to Junior Wells. There were also some excellent original compositions – notably, the upbeat “Hey, Mattie” and the frantically-paced “Judgment Day”, which was brilliantly driven by drummer, Tony Baylis, and bass guitarist, Frank Walker. Guitarist, Bob Wilson, showed his class with his excellent interpretation of “The Stumble” and a lovely solo in the middle of a slow blues. The climax of the set was a magnificent rendition of James Harman’s “Icepick’s Confession”, which featured some great harp from the Honeyboy.
The second set opened with Canned Heat’s “Going Up The Country” and the ever-popular “Mama Luchie”, followed by a sequence of rock and roll classics, including “Nadine”, “Hand Jive” and “What A Wonderful Night”, that tempted a group of local lovelies to grace the dance floor. “Miss You” was enhanced by a tasty bass-line from Frank Walker and a helping of slide guitar from Bob Wilson before Simon Hickling delivered a fabulous performance of Charlie Musselwhite’s “Christo Redemptor”. The set was completed in grand style with Steve Marriott’s “Big Train” and a vibrant delivery of “Mystery Train”.
The delighted audience’s appreciation was loudly declared and suitably acknowledged by two rousing encores. Top class entertainment from a richly accomplished group of musicians, fronted by a consummate showman, whose ability to combine brilliant musicianship with infectious humour never ceases to delight.
Lionel Ross

The Honeyboy Hickling Band at Fogherty’s, Liverpool, Saturday, 15 March 2008

Following The Stumble’s great success in December last year, another of the UK’s class acts was lined up for the second blues gig at Fogherty’s in Liverpool. Simon Honeyboy Hickling has been delighting the country’s blues fans for a number of years now and his effervescent performances show no sign of diminishing. He was as vibrant and energetic as ever and his harmonica playing was straight out of the top drawer.
Little Walter’s “Juke” set the tone for the evening and was followed by an excellent array of rhythms and tempi. The first set included the driving beat of “Hey, Mattie”, the shuffling “Just Your Fool” and a brilliant version of the slow blues “One Room Country Shack”. The set ended with a vibrant first helping of Chuck Berry.
The second set opened with the band’s wonderful version of Canned Heat’s “Going Up The Country” and the foot-tapping “Momma Luchie”. It also contained “What A Wonderful Night”, which immediately had the dancers streaming onto the dance floor, “Bright Lights, Big City” and, to slow things down, “Wee Wee Hours”. Guitarist Bob Wilson fitted a couple of impeccable solos into the proceedings to give Simon a breather; and there was a magnificent rendition of “Mystery Train”, which, as always, brought the house down. Whilst the Honeyboy’s tremendous harp playing was the highlight of that number, full credit must be given to Tony Baylis’s fabulous drumming that sustained the breath-taking momentum. Special mention is also due to new bass guitarist, Frank Walker, who fitted seamlessly into the superb ensemble.
“High Healed Sneakers” and “Promised Land” provided a suitably upbeat encore to complete a terrific evening. This band never fails to hit the mark, combining consummate artistry with uplifting warmth and humour. A sheer delight.
Lionel Ross

PAUL Orta & Honeyboy Hickling & the DTs

The Musician, Leicester 8/10/03

Great things can happen when a visiting blues master teams up with a cracking British blues outfit and tonight they happened bigtime. First up was Simon 'Honeyboy' Hickling and his band comprising himself (vocals, harp), Al Sansome (guitar), Tony Stewart (bass) and Tony Baylis (drums). This reliable outfit produced their usual immaculate platform on which Simon could strut his stuff and what a powerful front man he is, a natural showman who sings well and plays great harp. An early pleasure was the bustling and insanely catchy "Hey Mattie" followed by a tough Texas blues with good playing from Al and then the harp tour-de-force "Don't Believe in Nothing" with divine blow bends over rock solid guitar chords. There was great variety and something for everybody, from fun singalong numbers like "Love The Life I'm Living" (uncannily telepathic ending on this one!) and a rollicking "Just Your Fool" to a deep almost gospel train blues which chugged remorselessly and hypnotically to its impressively slowed-up ending.

After the break the band minus Simon backed Paul Orta and what a revelation he was. I'd heard enough on CD to know he has a good blues voice and gets a classic Chicago sound from his harps but was not prepared for the sheer impact of his live performance. He achieves a gloriously full harmonica sound through tongue-blocking and other techniques, has a deep feeling for the blues and knows just how to ride a live band till the whole thing kicks nicely. There was the urgent sweet swing of "Robbin' Little Woman" and then some deliriously beautiful slow blues with strong Big and Little Walter influences but no slavish adherence. Paul's mix of blow bends, head shakes, siren effects, wah wah sounds, triplets and sustained notes is an original and heady brew enhanced by his authentic and sincere style of singing which at times reminded me of Sonny Boy Williamson. His hands-free harp playing on Walter Horton's "Just Keep Loving Her" is a sure indication of perfect playing techniques. "Do The Boogie Woogie", which I think he co-wrote with Snooky Prior, swung like a hung ferret with Paul pulling out all the stops and even breaking out into a cool little dance. As we'd all hoped, Honeyboy joined him for the last few numbers and the word pleasure doesn't come near describing the ecstatic collision of these two harp masters. A good example was "Fine Sweet Thing' which just rocked the joint. YOU just orta have been there! 
Dave Kingsbury