Music Critic Hugo Rasenberg reviews Cory Wong’s Birmingham show, praising the musician’s high-energy performance and skilled band
Wow, what an extraordinary experience it was.
I had high expectations for Cory Wong’s performance in Birmingham, given that the U.K. and Ireland were among the final stops on his three-week-long European tour. I was confident that the band would be tight, locked in, and grooving.
This was not my first time witnessing Cory expertly handle his signature Fender Stratocaster; last year, I had the privilege of seeing him perform to an enthusiastic audience at London’s Troxy.
Wong burst onto the stage with a high-energy entrance
Wong burst onto the stage with a high-energy entrance, accompanied by his all-star band. However, there was one noticeable absence: Wong’s regular bassist, Sonny T, was missing from the European leg of the tour due to undisclosed circumstances. Nevertheless, the bass stand-in, Vincen García, effortlessly dominated the low end and quickly became a fan favourite.
It is challenging to convey the sheer energy that Wong brought to the beginning of the show. The rendition of the 20th Century Fox theme served as the perfect opening number. Wong’s frenetic movements and carefully choreographed stunts, such as Alex Bone leaping over Wong’s back while playing ‘Assassin’, captivated the audience. These distractions momentarily overshadowed the fact that, despite his undeniable energy, Wong was sporting a medical boot due to an injury.
Speaking of the boot, Wong revealed that he had consulted with a doctor who recommended he sit out the tour. Fortunately, he sought a second opinion and decided to maintain his eclectic onstage energy, despite his injuries.
Wong’s approach to live performance bucks the trend of relying on pre-recorded studio tracks. Instead, he utilises a live horn section, the Horn Heads, to inject a surge of energy into his performances. Kenni Holmen, in particular, stood out with his incredible solo skills and versatility as a multi-instrumentalist.
Kenni Holmen, in particular, stood out with his incredible solo skills
Similarly, the U.K.-based Alex Bone brought unparalleled dynamic energy with his black and gold Selmer Alto. He also contributed an extensive jazz vocabulary as a student of the legendary London flautist, Gareth Lockrane.
The show featured a mix of Vulfpeck and Fearless Flyers tunes, as well as Wong’s original instrumental tracks. A well-timed substitution introduced Antwaun Stanley to the stage, adding another layer of excitement. On ‘Work it Out’, Stanley engaged the audience in three-part vocals, creating a surround-sound experience in the intimate venue.
On ‘Work it Out’, Stanley engaged the audience in three-part vocals, creating a surround-sound experience
As the grand finale approached, the audience’s clamour for an encore reached an ear-splitting level, with some jazz enthusiasts attempting to request their favourite tunes. However, one classic track was clearly in the highest demand: ‘Dean Town’.
Wong did not disappoint, and the crowd erupted as García began blasting away on the iconic 16th-note pedal. Through their voices, the audience enthusiastically joined in with dominant 13th harmonies.
It is genuinely remarkable to experience Cory Wong live, and the emphasis here is on ‘live’. It would be wonderful if more popular artists returned to playing in the moment, as backing tracks at concerts simply cannot provide the same intimate connection with the artist.
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