'CONNOR SELBY BAND' - THE RED ARROW MUSIC CLUB - RAMSGATE TUESDAY 9TH JANUARY 2024

Looking impossibly youthful to perform music with such sophistication and class, Selby and his band specialise in laid back blues, the perfect soundtrack to a gig that is unusually civilised. Groups of friends are seated around tables, enjoying (very reasonably priced!) drinks and bar snacks. There are clearly some regulars here. It’s all very polite and relaxed; applause breaks out between numbers and sometimes spontaneously, when the instrumental breaks are particularly impressive (and that’s often). Just a few minutes walk from the local train station, it’s baffling that this place isn’t a bigger draw. But hopefully it’s only a matter of time. 

‘Falling in Love Again’ gets things underway, Selby’s warm vocal reminiscent of Peter Green at his best, but unsurprisingly, it’s his wonderful guitar playing that is the real showstopper. The melancholy ‘I Shouldn’t Care’ follows, an opportunity to really appreciate the weeping guitar that persists through ‘If You’re Gonna Leave Me’. The latter is preceded by a lovely keyboard introduction courtesy of Stevie Watts, a man who deservedly gains much appreciation from the audience. The set draws heavily from Selby’s self-titled album released last year, but there are a few surprises along the way. ‘All Out of Luck’ is Selby’s foray into jazz, which he claims he can’t really play (I’m no expert, but it sounds like he can!) and provides an early highlight with a truly slinky bass line.

Selby is endearingly unassuming, a man happy to let the music do the talking. His obvious love and reverence for the genre permeates every note he plays and ensure that his originals nestle seamlessly with covers of lesser known blues classics. He mentions how important it is to him to bring to light wonderful songs like Ray Charles’ ’My Baby Don’t Dig Me’; difficult to find on digital platforms but brought to spectacular life this evening. B.B. King’s ‘3 O’ Clock Blues’ feels more familiar and is also beautifully executed, leaving me sure that the blues is a genre that deserves greater investigation on my part. 

There’s a timeless feel to this music, in the balladry of ‘The Truth Comes Out Eventually’ and the rockier ‘That’s Alright’. But most of all, there’s a notable respect for those who have gone before. Selby speaks of his understanding that he is ‘standing on the shoulders of giants’ and can never be like the icons of the genre. He shouldn’t be too hard on himself; his own ‘Love Letter to the Blues’ is a fabulous tribute; the plaintive guitar and mournful vocal are both moving and reminiscent of the greats. 

The tempo picks up for ‘Show Me a Sign’, drummer Oscar Reynolds giving a particularly high energy percussive performance, temporarily holding a drumstick in his mouth whilst shaking a tambourine. It’s a jubilant way to finish but, of course, the audience demand more. Two encores follow, with ‘Emily’ providing the triumphant conclusion. If you like the blues, or the guitar, or just really talented musicians, don't miss Connor Selby on tour with Joanne Shaw Taylor in February.