Rosalie Cunningham + AfroDiziac - Ramsgate Music Hall, 3rd November 2022

The aptly named AfroDiziac (I am, of course, referring to his big hair rather than anything else!) is the definition of cool, dressed like Hendrix and dripping with smooth confidence. Backed by drummer Antoine and impressively funky bassist Aaron (formerly of Dirty Thrills), the trio deliver a tight set of blues inflected rock. Originals Sick On You and High Noon have an immediacy that get the audience on side. Throwing in a cover of Motörhead doesn’t hurt either, though it’s almost unrecognisable at first, reinvented with unlikely groove.

Looking like they’ve been transported from the 70s, Rosalie Cunningham and band certainly have the image to match their swirling psychedelia and distinctive prog stylings. Opening number Start From The Corners is the perfect introduction, a deliciously retro instrumental, heavy on keyboard and centred around an insistent guitar riff.

Ride On My Bike is a glorious display of fuzzy guitar, dramatic vocal harmonies and addictive melody. There’s a weighty, slowed down riff towards the end showing the group at their most heavy. But the music this evening is pleasingly diverse, from the whimsical folk of Donny Part 2, to the hazy Fossil Song and the 70s like rock of Riddles and Games.

F**k love is possibly the best showcase for Rosalie’s wonderful vocals. Admitting this was written at a time when she was ‘very angry’, the rage is veiled in a bouncy, oddly uplifting melody. There are some killer notes hit in the chorus, and somewhere in the crowd, a man shouts ‘very good’; understated perhaps, but accurate!

The shadow of The Beatles, particularly Paul McCartney, looms large. The jaunty Duet, with Rosco joining Rosalie on lead vocals is a real highlight and conjures the feel of the Fab Four at their most fun. There is more blatant worship in covering Eleanor Rigby, here reborn as a harder rocking cousin to the plaintive original.

Tempest and the Tide is an unusual choice of closing number; veering briefly into Jethro Tull territory with some beautiful flute interludes. It’s slow paced and pretty, almost dreamlike. Preceded by the bouncier Chocolate Money, another Purson track, it is a slower burn but no less enjoyable.

If you think they don’t make music like this any more, you’ll be pleasantly surprised. And, if new track Rabbit Foot is anything to go by, there is plenty of magic yet to come.