Bona's arrival in our city was in itself a kind of mini-event. Personally, I hadn't seen him since 2024 at the Palais des Sports at Porte de Versailles. And as far as I'm concerned, a Bona concert is not to be missed, especially one that was going to take place in this brand-new venue—well, not so "new" since it was inaugurated in 2017.

The New Yorker's schedule is once again very busy. Indeed, after releasing the excellent album Breakthrough and a vibrant tribute to the great B.B. King with the album B.B. King's Blues Summit 100, which I don't yet own, our friend is preparing to release a live album this June, recorded in Cork, praising another great, namely Rory Gallagher. It's called The Spirit Of Rory, and I confess I'm eager to see it, given what I've heard.

At precisely 8 PM, the lights dim, and Joe and his band take the stage with the sublime "Breakthrough," enhanced by the perfect sound that resonates in this venue, a stark contrast to the dreadful sound at La Défense Arena. Incidentally, it's worth noting that there's no opening act. Which is just as well, considering that most opening acts are either boring or musically completely unrelated to the headliner.

Within the band, a significant change has occurred following the departure of the renowned keyboardist Reese Wynans. Indeed, with age upon him, he preferred to hand over his organ duties to the experienced Lachy Doley, an Australian musician. He is certainly experienced, having distinguished himself before Bona alongside iconic figures like Jimmy Barnes and Glenn Hughes. Bathed in truly magnificent lighting, Bona and his band launched straight into the powerful "Trigger Finger," also from *Breakthrough*, before focusing on two covers from *Blues Vol. 2*. The first was Bobby "Blue" Bland's "Twenty-Four Hour Blues," and the second, Guitar Slim's "Well, I Done Got Over It," the latter showcasing the Uttica native's astonishing dexterity. Unlike some other six-stringers (who rely on flashy "shred" guitar work), Bona possesses an undeniable talent for conveying palpable emotion to his audience. His voice and soulful solos contribute significantly to this. As Joe is swept away by the sound of his Les Paul, the two backing vocalists, Jade McRae and Danielle Deandra, beaming, tirelessly perform a perfectly synchronized choreography. A true show for the two of them.

Then, we return to one of the albums that cemented the great Joe's reputation, namely Dust Bowl (2011), from which he stylishly extracts the beautiful "Happier Times," followed, given current events, by another track from Breakthrough, the aptly named "Drive by the Exit Sign." "The Last Matador Of Bayonne," which on the previous tour was first performed in a symphonic version and then immortalized on the double live album Live At The Hollywood Bowl, is brought back to our attention in a MAGNIFICENT version, so beautiful it brings tears to your eyes (I know, I'm a big softie… lol), enhanced for the occasion with some very welcome little improvisations. We all know this guy is a master of "Bona… venture"... Enter Freddie King's "Pack It Up," this time from the first volume of Blues Deluxe. Let me tell you right now, this was one of the highlights of the concert for me. How can I explain it? Keyboardist Lachy Doley launched into a long, frenetic solo, even bouncing around like a five-year-old, much to the amusement of his bandmates who wondered when it would end. Basking in glory for several minutes, Lachy was then forced, no doubt with regret, to yield his place to a thunderous ovation. Lemar Carter, who hadn't asked for anything more, had been eagerly awaiting, even dreaming of, the fateful moment to unleash his fury on the drum kit, which he certainly did with brilliance and virtuosity. Delaney & Bonnie, a duo that Eric Clapton was once part of after the Blind Faith project, which hadn't quite lived up to his expectations, is honored by Bonamassa, who covers the well-known "Well, Well," adding his own personal touch—but in that respect, we're used to it by now.

The atmosphere among the audience really heats up, especially during the thunderous "I Want to Shout About It" by Ronnie Earl and the Broadcasters (a group formed in 1984), a version that can only be described as exhilarating and captivating. Exciting and captivating thanks also to the performance of Jade and Danielle, who deliver truly remarkable vocal feats! What talent, ladies!

An "Action Joe" set is 50% covers, often reworked, so it's only logical that he closes with an excellent rendition of Bobby Parker's underrated "It's Hard But It's Fair," the creator of the hit "Watch Your Step," and one of Rory Gallagher's most iconic tracks, "A Million Miles Away." A strategic move, indeed, in light of what was mentioned earlier. After only a few minutes offstage, he returns for a highly successful "Mountain Time," carried by Bonamassa's velvety voice and virtuosity, concluding a top-notch concert on all fronts: a solid band, perfect sound, and an unstoppable setlist (though one might have wished it had focused more on the magnificent album "Breakthrough"). These factors clearly contributed to its success, and above all, to give credit where credit is due, Bonamassa once again captivated the Parisian audience for a solid two hours, not a minute more. It started at 8 pm sharp, and ended at 10 pm sharp. Perfect, pure Bonamassa, now it's time for bed. See you next time, Joe.

https://www.setlist.fm/.../la-seine-musicale-boulogne...

Phil Lizzy
Translation : Y. Philipppot-Degand

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