Review: Eric Bibb ‘Live at the Scala Theatre Stockholm’

Review: Eric Bibb ‘Live at the Scala Theatre Stockholm’

By Jim Hynes

Eric Bibb’s smooth vocal delivery and comforting folk blues somewhat buffer the socio-political messages he imparts. Not a single note or vocal is the least bit harsh. He’s a master of unearthing traditional blues tunes that were born from pain and struggle. A modern-day griot, Bibb’s voice continues to be a most valuable one in these times. He is sometimes overlooked here in the U.S., as he records and tours mostly in Scandinavia where this album, Live at the Scala Theatre Stockholm, was recorded. Cherry-picked from the three-time Grammy nominee and legendary bluesman’s career, the 72-year-old Bibb had three criteria: 1) Fan favorites that had not appeared multiple times on previous live recordings, 2) a few songs from recent studio albums Dear America and Ridin,’ and 3) at least one song that he never recorded.

Live at the Scala Theatre Stockholm is a most ambitious effort, involving a huge cast of musicians. Longtime musical director and producer Glen Scott is on bass, keys, drums and backing vocals, Olle Linder (drums, acoustic bass), Johan Lindstrom (pedal steel, electric guitar), Christer Lyssarides (electric guitar, mandola), Esbjorn Hazelius (fiddle, cittern), Greger Andersson (harmonica), Lamine Cissokho (kora, vocals), special guest vocalists Sarah Dawn Finer, Rennie Mirro and Ulrika Bibb. String arrangements are by Erik Arvinder and David Davidson grace two selections with the string quartet of Hanna Helgegren and Sarah Cross on violins, Christopher Ohman on viola and Josef Ahlin on cello.

Three of the ten are traditional, with one from Lead Belly and Walter Vinson along with Bibb’s five originals. The traditionals provide symmetry as Bibb opens with “Goin’ Down the Road Feelin’ Bad” and closes in an animated audience singalong with “Mole in the Ground.” As stated in his criteria, many are familiar tunes from his catalog and recent efforts, two of which are autobiographical – his own “Silver Spoon” (Some say I was born with a silver spoon/In my mouth/People, you know I′ve paid some dues/Born to play the guitar all around the world/Born to sing these blues…); and Vinson’s (from The Mississippi Sheiks) “Things Is ‘Bout Comin’ My Way.” Bibb’s arrangement of the latter is adapted from “Sittin’ On Top of the World” and a reflection also of Bibb’s journey. His storytelling talents are all over these tunes and in a live setting, you can’t help but lean closer in to the magical quality of Eric Bibb.

“Silver Spoon”

 
Most reflective of this opening paragraph is one of the two performed with the string quartet, “Rosewood” from Bibb’s album Blues People. Co-written by Bibb and Scott, it tells the harrowing story of the massacre that exterminated the African American community of Rosewood in Florida, a history lesson worth stating in today’s divisive climate that extends beyond the U.S. Bibb amplifies such a warning in another co-write with Scott, “Whole World’s Got the Blues” (Dear America.)

Instrumentally, some of the interesting configurations include his cover of Lead Belly’s “Bring Me a Little Water, Sylvie” with fiddle, kora, and pedal steel all intertwining with the conventional guitars, bass, and drums. Bibb’s acoustic guitar picking shines on his own “River Blues” where he, Scott, and Linder are accompanied by the string quartet.

True to Bibb’s artistry, this is most mellow for a live album. The musical details are beautifully subtle and in keeping with his relaxed persona that encourages deep listening. Those that do will take away not only a great musical experience, but words of wisdom and warning too.

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