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Review of Live Show @ The Green Room, St. Helens, June 2004

The cheap A's, E's, C's and D's will no longer do boys. Somebody just moved the goalposts.

Sometimes something comes along that is so dumbfounding that it can shake you to your very bones and make you aware of the possibilities that are out there if your mind is open enough to disregard what has gone before. Tonight was one of those moments of clarity. One can only speculate as to Jon Gomm's evolution in guitar playing. At what point did he knuckle down and decide to tear up the rule book? was it a conscious decision? was it luck? is it just the way it came out? For the unitiated Gomm's style is a mixture of percussion, picking, chords, effects, strums, blues and rock and roll. The difference being, the leapfrog from style to style happens in the blink of an eye, each line of each song an adventure in technique, ability and experimentation.

"All sounds made with one acoustic guitar & voice - no overdubs or other trickery" boasts the sleeve of Gomm's album HYPERTENSION. If you haven't seen it with your own eyes it could be hard to believe. Rhythms are beaten out on the body, neck, and frets of his acoustic as he accompanies himself and, with the help of a range of guitar and vocal effects, creates a suitably intense and atmospheric backing. Material such as CLOCKWORK and STUPID BLUES could be performed no other way it seems. Each hit and flourish seem as integral a part of the song as the vocals and chords do but amazingly the "trickery" never overshadows the songwriting or performance. Gomm's voice is warm and comforting especially on it's showcase, the final song of the night, a relatively straight laced piece compared to what has gone before.He is obviously aware that his techniques may be seen as gimmickry and therefore does'nt play all his cards within the first few songs. As the set unravels he is able to throw in varying new displays and turns that stun and amaze but always tie in beautifully. In an age when many guitarists and bands struggle to tune their instruments even between songs, Gomm's ability to tune and de-tune mid-flow is astounding.

It's back to the drawing board for many musicians in the audience tonight at the Green Room I think.

Wonderful.

Review written by Mark Williams

Review of Hypertension from Whisperin & Hollerin September 2004

Jon Gomm is an acoustic singer-songwriter, the obligatory acoustic guitar firmly in hand, so we know exactly what to expect, right: some nice strumming and gentle lilting melancholia. Wrong. Very, very wrong.

To Jon Gomm a guitar is not a guitar, it is a drum kit, bass, weird-synth and, occasionally, a guitar. The array of sounds he gets from this humble instrument seems limitless. First we get some bright sparkling chords. Then the bass enters, stage left, and you wonder how he's doing both at the same time. Then the drums kick in, strong and vibrant, and any attempts to guess how are pointless and hurt your brain, so you just sit back and enjoy the show. And it is quite a show.

The range of songs on offer is broad. From the epic ballad of love gone awry “Less To You”, featuring lines like “Our fire burns in fits and flashes, smoke and ashes irritating my eyes”. To funk-metal juggernaut “Crazy Johnny”, in which Jon suggests that we “See him up close, let him medicate you, he'll uncomplicate you”.

The voice that delivers these lines is strong and edgy, and shows more than a little leaning towards the world of rawk. None of this is, musically, the usual fodder of the one-man acoustic performer, and as such it is a breath of fresh air. There are strong melodies, hooky riffs and changing moods throughout, from desolate beauty of "Happy Room" to the frenetic bounciness of "H".

There's much nodding in the direction of da blues too, with the superb instrumental “Stupid Blues” and a twelve-bar-gone-wrong-with-added-rock-guitar-god-solo in the shape of “Hey Child”, which deals with the suitably dark subject matter of a teenage prostitute. “Swallow You Whole”, on the other hand, is impossible to classify into a genre – shimmering new-age chords and a single repeated lyric “will you be long”, paired with skittering percussion reminiscent of Roni Size, but then taking a left-turn into the eerie folkiness of Nick Drake.

There are two covers on the album – Bob Marley's Waiting In Vain (re-titled “Wait In Vain” for some reason) which opens the album (it's nice enough, but not an opener in my opinion) and the Radiohead singalong number High And Dry, of which Mr. Gomm performs a wonderful version: the backing rolls, breaks and crashes like a loping tide on which his voice sails effortlessly. Better than the original? That's not for me to say, I'm sure….

The guitar-work is extraordinary throughout, and no doubt this alone will sell many, many copies to six-string enthusiasts, but I would suggest that even if that is not your bag, then there's plenty here lyrically and melodically to hold your attention. And the detail is is like a Dali – the longer you look the more you see.

Review of Hypertension from Sandman Magazine April 2004

Anyone who has ever seen Jon Gomm perform live knows what to expect: sheer bloody genius, the big question was 'how will it work on record?". The answer, I am pleased to say, is "very well." The reason for this is that, behind the phenomenal, god given musical ability, there beats the heart of a truly great song-writer, and (in my opinion anyway) it's the desire to hear these songs performed 'properly' which has lead to the evolution of Jon's inimitable style, rather than banging out any old tune simply as an excuse to show off.

This album brings together "Gomm-ified" (©) cover versions (Radiohead's angst-anthem 'High and dry' and Bob Marleys 'Waiting in Vain') with a selection of original material and occasionally you have to remind yourself that this is one man providing the haunting vocals, drum beats, bass lines and even a bit of guitar. I hate him, the bastard. The stand out track, for me, is 'Hey Child', the wife recently stated that she could imagine this being on the soundtrack to some dark, edgy Hollywood blockbuster, which illustrates the success of Jon's song-writing style: the ability to stir an emotion and create an image in the listener's mind.

This album is never going to be a party favourite but let's face it, who wants to hear their material sandwiched between S Club Juniors and the latest faceless dance act? This is for fans of music, for anyone who wants to be amazed, intrigued, entertained and challenged by what they listen to, this is real music, born of real emotion from a real talent and is something that you will be listening to long after Michelle McManus has been released into the cooling waters of the Atlantic.

If you like music, you'll love this.

Written by Stu Hudson

Review of Live Show from leedsmusicscene.co.uk May 2004

Jon Gomm Live @ Royal Park Cellars - Saturday, 15 May 2004

When Bruce Lee talked of having “no style” he wasn’t talking about the yellow tracksuits, he was talking of accomplishing mastery of the most effective parts from each martial art until you have a style that isn’t bound to a particular set of rules. A style that is invincible that could decimate any man on the planet, a style that was ultimately entirely his own.

I have to say I think guitar virtuosos are generally really sh*t to listen to; there are only two exceptions to this and one of them is Jon Gomm. Jon’s music works on all three levels from the technical skill on offer along with the accessibility of the tunes to the very down-to-earth deliverance. Indeed he’s the closest musician I have ever heard in achieving Lee’s blueprint via music. He is a master musician that you can’t define as a particular type or style since he incorporates countless approaches until it becomes nothing you’ve heard before - which is no mean feat considering he’s only using an acoustic guitar.

The opening song is a cover of Bob Marley’s “Wait In Vain”. It’s great just watching this guy: he starts off playing for a few seconds armed with his well-beaten guitar he strums away… I look away for a few seconds and all of a sudden there’s percussion and a bit of thumping bass and you see it and just don’t know what to say!

He pins the crowd to their seat while their mouths open wide gaping. The applause gets more feverish after each song. I know that I’m seeing something really special tonight. Like most men I can only do one thing at a time so how does this guy do three or four? The melodies are sweet, plenty of choruses and the percussion sounds exotic - from a far away place on the other side of the world.

Jon’s original material stands out - it's bold and strong I remember especially liking ‘Hey Child’. Mid-way through the set he covers the Beatles ‘Come Together’ and Jon’s voice really comes to the fore as he projects it and makes the song his own stretching out the chords. Jon’s reputation rightfully appears to be growing so it can only be a matter of time before he reaches a wider audience.

Review written by John Harvey

Review of Hypertension from leedsmusicscene.co.uk Feb 2004

I remember the first time I saw Jon play live - it must be going on three years ago in the Packhorse I think, quite a gangly fellow I thought, bit of a Goth maybe, would he start singing about powder paint and lipstick and have a big moan? Well that's what I thought, I was happily very wrong. And finally, Jon's decided to try to put down for the first time on CD what he does almost every night on stage. And considering how hard that must be it's a pretty good effort. This isn't Jon spending six months in some fancy dan studio, multi layering guitars on guitars; this isn't Jon sitting with top producers to decided huge percussion arrangements. This is Jon sat in his room with his guitar recording himself, live. And I think that's where maybe the struggle to record might happen - unless you see Jon in the flesh arms and legs flailing around all over guitar being pounded and slapped like you wouldn't imagine, you'll never believe this is one man sat there playing it.

I mean take the song "Swallow You Whole" - now I can hear the drums there and there's definitely a bass as well. But no there isn't - Jon's technique of using his hands and fingers to tap out the rhythm whilst playing with his neck hand over the top for access to the bass strings means he can do it all himself, and I don't want to sound like that's an easy thing, it's not like I'm gonna start doing that from now on so that I can kick some drum and bass out whilst doing "More Than Words", what Jon does takes a lot of talent probably more talent than I've seen in a guitarist, at least with my own eyes. So this album should be (if it were me) a massive shred fest, simple twelve bars covered in blistering solo after solo, but it's not. In fact there's only one song that has what I would call a traditional guitar solo (the fantastic "Hey Child") and if you talk to Jon about this song he always has this small grin on his face as though he's slightly embarrassed at going down shred lane. These songs are filled with greatly layered melodies and chord progressions, soaring choruses and often deep and personal lyrics. Jon could quite easily I imagine out-solo most of us with one hand but he'd much rather push his guitar to the limits in other ways.

The album includes two covers, Bob Marley's "Wait in Vain" (an old show starter) and Radiohead's "High and Dry". But for me it's his original pieces that shine the most, songs like "Clockwork" and my favourite "Stupid Blues" show not only the range of styles Jon can play but also his ability to craft out fine pieces of music that are filled with passion and feeling. There's a very polished and professional look and sound to the album even though paid for by Jon himself, but this is just an appetizer demo to surely what must come next for him: the record contract. My only slight criticism of the album would be maybe the slight overuse of reverb/echo on the vocals in a couple of the songs which occasionally doesn't fit in with the rest of the record but that aside this is pretty much spot on, but before you do go out and buy it do yourself a favour and see the man in the flesh, that way you'll really be able to appreciate what he's doing and how he's doing it.

And then once you've picked your jaw off the floor, go buy one of his albums.

Review written by Lemon Head Ron

Review of Hypertension from Review Centre October 2004

This is Gomm's first ever album, and it's a stunning piece of work. It's recorded with just his voice and an acoustic guitar, but I've never heard a guitar make sounds like this before. He uses it to get bass, melody, chords and - most amazingly - drums, all at once!

The songs are filled with emotion, and sound fresh and original. I can't really pin him into a genre - it's a bit indie, a bit blues, a bit folk, a bit funky at times, but there's definitely a distinct sound and feel that marks out every song as being born from the same soul. My current favourite track is 'Less To You,' which has the most poetic lyrics I've heard in ages, beautiful guitar and twists and turns that keep you feeling really involved in the music.

This guy has it all - great heartfelt vocals, inspired and original songs, and guitar playing as good as you will ever hear. The new Hendrix. It's that simple. You have to have this CD!

Review written by Steven Castelo

Review of Hypertension from LOGO Magazine Feb 2004

It looks as though Leeds' Jon Gomm has been in receipt of some extremely good career advice: follow the singer-songwriter path, that way you're in control; don't hire session musicians, it can sound cheap; give every performance your all. Two covers grace Gomm's debut, Bob Marley's 'Wait in Vain' and Radiohead's 'High And Dry', both of which he makes his own through following the advice we mentioned earlier. The key here is the fullness of sound that Gomm wrings from just two vessels; voice and acoustic guitar. He slaps, bangs and taps his instrument for percussion, as though he studied at the feet of Son House, while his voice - indeed his entire feel - lands in the hinterland between Paul Kelly and Ben Harper.

This writer has wanted to use the phrase 'bravura performance' in a review for a long time, now, at last, the phrase is justified.

Author: Michael Ornadet

Review of Hypertension from Bridge Guitar Reviews Feb 2004

This guitarist/singer living in England started playing guitar when he was very young. His style is reminiscent of Michael Hedges, Preston Reed and Tommy Emmanuel. He played as a support act with Tommy Emmanuel, Nick Harper and Woody Mann. His voice reminds one a bit of David Crosby. Wait in Vain is the first track of his album and is highly percussive. Clockwork is played in BGDGAD so with a very low bass tuning, which sounds an extra bass player is doing his job. Jon Gomm mainly plays in open tunings and he creates with these tunings a mystical sound. H is played with a kind of Wah pedal. Jon Gomm his voice is a bit hoarsely and very extrovert. Most of Jon his pieces have a nice groove as on Stupid Blues, which has a blues feeling in a modern approach. This track is the only pure instrumental piece on the album, yet in all his pieces the guitar has a prominent role. Butterfly Hurricane, a percussive piece with nice chord sequences and soaring vocals. Happy Room, Jon wrote this during the September 11 tragedy with engaged lyrics and low bass tuning. He uses one of his altered tunings in AADGBE. Crazy Johnny has influences from funk to heavy metal played in his engaged, aggressive percussive way. Jon Gomm is a energizing personality as well in his guitar playing as in his singing. His guitar techniques are well and effective. Especially "live" Jon Gomm will make you swing and will make you thrill for sure.

Henk te Veldhuis, Bridge Guitar Reviews

Review of Live Show from leedsmusicscene.co.uk December 2004

Jon Gomm Live @ Love Apple (Bradford) - Sunday, 19 December 2004

I think we all know the story by now. A young sprightly reviewer who has never seen Jon Gomm before sits himself down and waits in anticipation. He's heard the stories, read the reviews and been told the rumours yet when JG takes to the stage nothing can prepare him for the true genius behind this man's mind blowing performance.

The backdrop to this gig is a strange one. As a guest at the "Demon Barber sessions" one must first endure some traditional folk music involving Irish accents and leg flailing dancers at the front of the stage.

Fear not though as when silence fell on this audience it was down to them being struck dumb with pure amazement as JG pulled out all the stops with various mind boggling ways of playing the guitar. These ways are not only astounding to watch but they are near impossible to describe. How does one go about analysing and discussing something they struggle to even comprehend?

Due to the nature of the show tonight JG is limited to only a single set of songs from his album "Hypertension" but thanks to his unlimited ability at the acoustic guitar he is easily able to win over the crowd who were initially asking themselves "who the hell is this guy and what's he trying to sell?" Songs like "Stupid Blues" and "Clock Work" go down a storm and are a showcase for the man's undeniable talent.

Ranging between moments of pure emotional heartache and then turning the tables to churn out absolute insane solos unlike anything these eyes have seen before. "Hey Child" is dark and delightful and JG seems to revel in the atmosphere that this epic gives off. He's also not alone as the audience are equally lost in the sheer mystery of this performance.

It's only a shame that one set is all we were given as everyone could have watched JG till the early hours of the next morning.

Review written by: Simon Glacken




Review of Live Show from leedsmusicscene.co.uk December 2004

Jon Gomm + Angelo Paladino, Live @ Mixing Tin - 5 December 2004
(Editor's note: This review is of the first of the "Collaborators" concert-series, in which Jon invited a special guest to play a set, and also to play an improvised set together at the end)

What do you do when none of your mates will go to a gig with you? When Jon Gomm is on the bill, you go on your own! I'd bought Jon's album "Hypertension" and having looked at the back cover and read something along the lines of "No overdubs or other trickery, just one man and an acoustic guitar" I couldn't fathom how he did it. Now I've seen it, I'm still not sure! His guitar playing style is unique, using a combination of hammering on and off with both hands whilst using any free hand to hit the guitar and make all manner of different noises. His first tune "Stupid Blues" is a hybrid bluesy/jazzy instrumental number and from the off there are harmonics coming out all over the place, intricate scales being played and the guitar making every kind of noise you'd never expect to come from a guitar. Every tune Jon plays is like this, but all very different, "Clockwork" is a masterpiece building from the beating of the guitar right up to a tune that's so full of sound it's as if there were three or four people playing it. Every second I'm watching him play, I simply can't believe my eyes and ears, it is incredible stuff. I would love to know what Thom Yorke and the rest of Radiohead think of his version of "High and Dry", but I'm sure their answer would be that they wish they could play it like that. It follows the original, but with Jon's personal stamp firmly planted on it, it drives on, and for about the first time in the set you actually see him strumming the guitar like a normal person, and that's 4 tunes in! As he finished his set with a brand new tune, I knew immediately that I had to go and watch him again, and again, and again, and again...

Having just watched Jon Gomm, I knew Angelo Palladino had a massive job on his hands. All my worry was pointless. He started with "Play With Fire" (Rolling Stones), and his tremendous voice immediately hit me for six. It oozes warmth, feeling, and power. The timing of his delivery is slightly lazy, which adds a real quality to his singing style, making you almost want to pull the words out his mouth to hear the next warm and inviting line sung. In my opinion a good guitarist is not a fast guitarist or one who can run endlessly up and down scales, a truly good guitarist is one who can pick the right notes at the right times, when to go fast and when to go slow. Angelo has this ability. His finger picking was amazingly accurate and ran through series after series of the right notes in the right places at the right time, and it was wonderful to listen to. He intersperses covers with originals and when you get treated to an original you find out that his strength isn't just in his singing and guitar playing, it's also in his ability to compose wonderfully constructed blues songs, with parts to them that surprise and astound, leaving me grinning throughout his whole set. Sitting listening and thinking about his voice, I was reminded of Johnny Cash... Low and behold he announces "Personal Jesus", the Johnny Cash version, and it's fantastic. He smashes out the most bluesy, dirty sounding version I have ever heard, and the applause at the end of it simply brought the roof down, as did the rest of his set.

With both sets having been amazing and completely different I was really looking forward to hearing the two of them together. Starting with "Superstition", Jon banging away at his guitar and playing, and Angelo adding to the beat just clipping one of his strings, it's great fun. Both of them have got great stage presence, moving around everywhere and you can tell they are really enjoying sharing the limelight. They interchange parts easily and freely, Jon taking up the rhythm part of the tune, Angelo rattling around the notes, pulling out riffs here and there, then they swap and Jon starts, playing notes you would never imagine should go together, but that work so well with the tune. If we hadn't been told that they had not rehearsed and it was totally improvised I would have thought they had been practicing together for weeks! The highlight of this shared set for me was when playing "Wait in Vain" Angelo started to play a riff that I knew and couldn't put my finger on it; Jon heard it and joined in. As soon as they were both playing everyone in the crowd knew what it was, they both stepped to their mics and out came the Bob Marley classic "Stir It Up". Improvisation at its best, and it was simply astonishing to see.

This night runs regularly on the first Sunday of each month and if they are all as good as this one then it will be one of the highlights of every month in Leeds. Next one is January the 9th, be there or be a complete loser!

Review written by Davoc Bradley

Review of Live Show @ Bia Hoi, Sheffield, September 2004

One of the great things about support bands, music festivals and acoustic nights is the slight possibility you may stumble across those rarest of artists that have something different and original to offer.

Of all the musicians I saw at the Green Room last year, there was only one who really stood out from the crowd so I was therefore exited to hear that Jon Gomm, a singer-songwriter with a highly unique style was touring again this autumn and playing Bia Hoi in Sheffield.

Jon takes the meaning of the one man band to a whole new level, using intricate tapping, scratching and slapping techniques on the surface of his electro-acoustic guitar, to create mesmerising percussion sounds, bass-lines and synthesizer effects that could put a full band to shame.

Barely recognisable from the original, the opener of Jon's set is a cover of Bob Marley's 'Waiting in Vain' completely re-worked in his distinctive blues style. 'Swallow you Whole' sees Jon re-creating his love of drum and bass on the acoustic guitar to dazzling effect, while the melancholy, husky vocals on 'Hey Child' is more in tune with Jon's Blues and Jazz roots.

The night ends with a beautiful version of Radiohead's 'High and Dry' which Jon describes as "a new-age, hippy version of the track" with all arrangements, astonishingly being played on the one guitar. To see this amazing talent for yourself, get yourself down to 'Broken Strings' at The Green Room (Division Street) on 1st December. Prepare to be amazed!

Written by: Robert Anstey

Review of Live Show @ The John O'Gaunt, Lancaster, Dec 2004

At the suggestion of a good friend of ours, we went to the John O' Gaunt in Lancaster last night to bear witness to a masterclass in guitar playing.

Jon Gomm doesn't just strum the guitar, he uses the entire instrument to tap out rhythms, scratch and scrape and create the most unique live sound I've heard, probably ever - especially considering the fact he was just one man, with one guitar and a voice. Jon performed 2 sets, between 9pm and 11pm, with only 2 or 3 (can't quite remember) covers. The rest was entirely his own work. To try and describe the gig would not do it any justice, but to give you an idea ...

the first song started with Jon tapping the body of his guitar with his right hand, like he was playing a tom drum, this was interspersed with finger taps from the left hand on the top of the guitar, then both hands flashed across to the neck, playing a mini riff by tapping on the fret board, and then back to drumming the rhythm again. This was the basis of the entire song - he even managed to sing over this kind of complicated choreography, without dropping a beat or a note.

As the gig went on this kind of drumming and fret tapping continued, with bluesy solos thrown in for good measure, and he did actually play the guitar in the traditional manner too, just to prove he wasn't a one-trick pony. Speaking of tricks the other thing he did, which was sooo cool to watch and hear was to detune the guitar half through a song. And I don't mean in a lull between sections of the song. I mean playing a riff, and then bending a note by detuning it, then a short section later tuning it back up to it's original pitch, with a quick twist of the wrist. One song in particular involved I don't know how many tuning changes, but it was amazing.

In between songs Jon was very laid back, and what he said was spontaneous and funny. If he's in your area any time soon I recommend you go see him.

Written by Si, www.fakehearingdisorder.co.uk

Review of Live Show @ Grove Inn, Leeds, November 2004

At the thought of Jon Gomm, and the prospect of attempting to express the inexpressible, the pen trembles. Obviously a job for the word processor then.

There was a buzz of excited tension zipping around the crowded music room as he tuned up the one acoustic guitar (Wilma) he used through both his sets, with its two pickups and bunch of effect pedals. Jon told us the pre-break repertoire was a bit dark - an angst-touched remnant of having played in Wigan the night before, and of the universal presence of pies in that locality. Even in a sandwich, it was revealed, you might find a pie.

Jon Gomm's music should be seen in performance to be appreciated, (hey-ho, sorry everybody but it does have to be said). One could even worry for the sale of his CDs. The DVD must be the appropriate medium, because quite apart from the rhythms being visual as well as aural, the listener laps up such astounding evidence that the sound is the unaccompanied work of a single performer. OK the tech stuff isn't by his feet for nothing, but with layering, delay, reverb and various distortions, you are witnessing something that a generation ago John Martin used a whole studio for, and had to go to Jamaica to find it.

That's only part of what you see : the simultaneous strumming and picking move faster than the eye can follow; the style moves in and out of flamenco, rock, blues, jazz and tender melody. All sorts of bewildered and delighted comments are heard about J Gomm's unconventional handling of the guitar - the word percussive comes up a lot, and less frequently the perfectly valid observation about him playing the fingerboard as if playing piano.

Can there be anyone who is less intimidated by the instrument, while at the same time filling his music with a driven belief that a guitar is full of mysterious potential he has yet to come to terms with? This respect for what he's involved in shows in his modesty about his results, as he waves away applause for part of a trilogy 'on waking up'. The performance didn't turn out as intended, worse than last time he says, which was when it had first gone before an audience. As though in urgent dialogue with a ventriloquist's doll, he's telling Wilma as he nods in the direction of the audience, 'They've payed you know. They've payed!'

Modesty, warmth and good humour fill the spaces between the songs and tunes; and concluding the evening he insists his guest at the first of his new a series of monthly concerts at The Mixing Tin, Angelo Paladino, is a real guitarist and will kick the Gomm ass. But then JG is known for his appreciation of fellow artists and helpfulness towards them, and just in case his well-satisfied Grove audience didn't feel sufficiently appreciated he took photos from the stage, after getting us to smile the word 'Wigan.'

Review written by: John Hepworth

Review of Live Show from Whisperin & Hollerin Feb 05

Jon Gomm + Gallo, Live @ Mixing Tin - Sunday, 6th February 2005
(Editor's note: This review is of the third of the "Collaborators" concert-series, in which Jon invited a special guest to play a set, and also to play an improvised set together at the end)

Wow, where do I begin? JON GOMM has claimed so many column inches that it’s difficult to find something original to say about him. Fortunately he has given us a bit of help on this front by coming up with “The Collaborators”, a series of monthly concerts featuring a set by Jon, a set by a guest musician and then a final joint set: completely unrehearsed, completely improvised.

It is the musical equivalent of watching a magician saw a woman in half: you know it’s entertainment but there’s the voyeuristic excitement of the potential for disaster. Fortunately we have our own musical musician at the helm, the David Blaine of the acoustic guitar if you will, Mr Gomm himself.

If you haven’t seen Jon then what the hell is wrong with you? It’s almost impossible to find new ways of describing his style of playing: emotional, percussive, breathtaking; you really do have to see it to believe it. Yet he is not simply a freakshow, the staggering playing ability is simply a method of delivery for his equally brilliant songwriting ability. Jon’s set starts with the instrumental “Waterfall”, a death (and RSI) defying tour-de-force of the acoustic guitar’s percussive potential, before progressing through established set favourites. The highlight of the set is, undoubtedly, “Butterfly Hurricane”, though I’ve heard it live on several occasions, and even more on CD, Jon’s relentless gigging schedule has now refined his performance and I can honestly say this is one of the most beautiful songs I have ever had the fortune to listen to.

Following Jon is always going to be a tricky affair, a fact acknowledged by Gallo front woman, Tash, when she quips that in order to do so they had to bring a bass, a sax and a drum kit. Gallo are one of Leeds’ best kept secrets, on a circuit dominated by loud, male-fronted rock bands they provide something a bit special, a laid back, jazz/funk sound delivered by a group of tremendously talented individuals. Tash possesses one of the finest, most unique voices you are ever likely to hear, flitting between a delicate, breathy delivery and all out soul-mamma growling, all the while remaining totally captivating. Possibly the only fault with Gallo is that they fail to divulge any of the song titles so I am forced into lines such as “the second one was great”, fortunately I know one title from previous gigs and it is this track, “Lost Weekends” which steals the show for Gallo.

The two opening sets over with there is now a 20 minute break during which approximately 150 men rush to use one urinal. Several fall victim to The Mixing Tin’s comedy washbasin which sprays a torrent of water directly at the crotch. I dance the lavatory-limbo in a vain attempt to dry my trousers under the hand dryer before finally admitting defeat and running back to catch the finale: the improvised set.

“For the benefit of the audience,” smirks Jon “The next song is in E, then it goes to A then B in the chorus”... make no mistake, this set is improvised but our virtuoso host is more than capable of making sure things run smoothly. We kick off with “I Just Want To Make Love To You” and before the set culminates with an improvised free-for-all we are treated to covers of Portishead and even “Alright Now” by free, Jon seeming to relish in his big, hair-rock guitar solo. Along the way we hear another Gallo track and a “full-band” version of Jon’s own “Crazy Johnny”, the audience are ecstatic, and well they should be, this is a gig which will live in the memory long after the tinnitus has faded.

“The Collaborators” is a concept worthy of success, and judging by the calibre of the musicians already signed up to play (Dan Beesley next month and Brendan Croker after that) it cannot fail to succeed. If you haven’t seen Jon already this is an ideal opportunity to break yourself in, if you have seen him then obviously you’ll want to see him again and these gigs provide an ideal opportunity, who knows, you might even discover a few new heroes along the way.

Author: Stu Hudson

Review of Live Show @ Hev'n and Hell, Liverpool, March 2005

It’s a great pleasure to see a musician on the cusp of becoming legendary. Here, in this little back street bar, impresario and musician Phil Ware begged, borrowed and stole to provide an intimate show to some, including myself, who will never forget…

Jon Gomm is unassuming; moody even. He carries an ol ‘ battered guitar and messes about with wires unobtrusively in the former DJ pit. Head in the clouds perhaps? He peeps up to be told he’s next up. Peering through the grubby Hev’n, he is good-looking in the ‘Take a closer look I’m me and I don’t stand out in a crowd I like hiding behind my hair, I’m a grown up’, sort of way.

Are we glad his father encouraged him to play the guitar; while dad’s dream was suffered unto a managing executive/ executive manager who had always wanted to play the guitar and urged his son while he was pen pushing industriously?

‘OHHH YEPP !’ He starts to play and it’s soon apparent as to why the varnish is worn and there is bare wood showing through here ‘n’ there. No, there isn’t anything stuck to his hand. How is he playing a drum at the same time then? No secret drummers hidden around. It’s just his hands. I look around the room at several other guitarists who had played earlier. Jon had them all astounded, mouths agape. They looked on with the same awe and wonderment a child expresses upon viewing a starry night sky for the first time.

Jon was finger picking, tickling the neck of this old worn bunch of strings and wood. Mesmerised I remember watching a harp player recently and notice the similarities-not an opportunity missed. All digits at once. A guitar, a drum, a harp.

His fingers ever busy. I try to concentrate on his voice; husky, mellow, steady and sexy. Jon makes love to his guitar. Then I see something new. He adjusts the tuning pegs as part of the melody ! His fingers are not obeying the laws of physics they gravitate; furiously hover, above, over, on. A ‘Butterfly Hurricane’ it is. Some of the guys in the crowd grin at each other, acknowledging this seemingly magical edge.

Jon has an extensive repertoire of catchy, melodies. Thoughtful in lyric and skilful in showmanship, after ten songs or so he sits on the floor (probably exhausted?). The floor is dusty and its hard to find space amongst the snake-pit of wires. Ah, I see, the song is called ‘Hey child’.

Mr Gomm starts to twist the controls at his feet. He continues simultaneously with the guitars, both electric and rhythm acoustic, the harp and the drum. He is his own sound engineer. Sharper ears than Spock , he sings above it all. Melded successfully.

Final ‘Afterglow’ and time piece blazed in glory. We forgive him for his many clocks. Clocks I said. He reveals he can’t wake up in the morning . Nothing wrong with your sense of time at night though.

How many hands does he have? One…er…yes two. How many thumbs? ….Two. Fingers? It’s like watching fish swim in an overstocked aquarium. …Eight.

Then how is it possible? Maybe you’ll figure it out when you see him. I tried and failed. Happily.

Don’t forget to listen.

Courtesy of Amanda De Angeles

Review of Live Show @ The Cardigan Arms, Leeds, July 2nd 2005

I'm reluctant of trying to describe Jon's music, mainly for fear of not being able to. Unique, intelligent, dark, powerful, great, are words that spring to mind. If you don't already know, I suggest you go see him play and find out for yourself. In opener "Afterglow", Jon's fragile vocals and intricate guitar playing/tapping in the verse make way for lots of distortion on his acoustic guitar and a belter of a chorus. His voice shows some real power and emotion, and then all off a sudden the chorus is over and it goes quiet again. "Hey Child" is another great song, again demonstrating Jon's guitar playing and singing abilities. The rocking solo in middle makes me think to myself, "surely he's going to break a string any second", but amazingly he doesn't and the show goes on. Bloody brilliant. It feels like he has played these songs a hundred thousand times (and he probably has), everything from the performance of each song to the in-between banter gives off an air of confidence and superiority. Though the really drunk old guy who is rambling loudly to himself is testing Jon's patience quite a lot. He deals with it well, and the drunken guy finally pisses off, allowing everyone to enjoy Jon's playing in peace. The set seems to last forever, whilst at the same time still seems to not be long enough. After a unique cover of Radiohead's "High and Dry", a look at the watch reveals that it's half 11, and sadly there's only time for one last song. "Waterfall" is a new one, and I believe it was the first time he's ever played it to an audience. It was written about a picture of a Hindu Goddess, and the second verse is sung in a Hindu dialect of some kind. Intriguing, especially the part in the chorus where the guitar is imitating water flowing down a waterfall.

A great gig always ends with you wishing it hadn't ended yet, and this is exactly how it finished for me. Ah well, time to buy the CD I guess.

By John Roberts

Live Show at The Porter Cellar Bar, Bath, 12/10/2005

Jon Gomm is truly sensational. Blowing the one man band concept beyond any previously conceived form, the guitar onstage becomes an object of wonder, and its owner a virtuosic master. Finger tapping bass lines and top lines (simultaneously), detuning perfect intervals and back again, screaming solos that come from nowhere, and all the while tapping and slapping full and driving rhythms out of various parts of the instrument.

And then he goes and sings too. Where you might expect this to mess it all up, he defies all possibility and lifts the whole package further. With the voice of a front man leaning in on his mike stand with undivided attention; it doesn’t seem to add up. Is this a man, or a very passionate and successfully humanised robot? Songs range from pop led ballads to instrumental crazy fests, the percussive stuff from big crunchy kit, to intricate tabla patterns, and pretty much everywhere in between.

The song writing is beautiful and intelligent, the banter engaging, and the overall effect is mind-boggling.

By Chris Chislet

Live Show at The Golden Lion, York, 27/04/2005, From The Talk magazine

There’s a varied mix of off-the-street stumblers, Golden Lion regulars who were lucky to bear witness to the art of primal guitar- playing at it’s most inventive and expansive. Jon Gomm is a master of making contradiction work. He takes an acoustic guitar and makes it sound like a bongo drum, a rim shot on a snare, a screaming banshee and an acoustic guitar all at the same time. Trying to focus on his hand movements they seem hyperactive yet controlled and you want to look closer but it intimidates you, and then after a while you realise you weren’t really focusing on anything at all…you can’t match the process to the finished product. There’s a stunned silence amongst the front rows most of the evening, and when the far-off hums of conversation from the back of the pub become too invasive Mr Gomm lets any rogues know their role, politely of course. He addresses the audience between songs with an endearing awkwardness which is blown away by his assuredness in action.

The playing is like a discovery of the instrument, no sound possibility is left unproven. Tuning peg twists become part of a melody whilst percussive taps form the rhythmic setting of every song. The vocals match the ambience of the sound when in falsetto but the playing often dwarfs the impact of sung words, however I am guitar-centric on the evening in question. It’s like when I’m watching Baywatch; the storyline doesn’t seem that important to me for some reason. The set is completed by an impromptu outburst of Stevie Wonder’s “Superstitious” which is fitting because by this point I’m not sure he’s real. Human or not, let’s hope he comes back to York...…soon

By Sam Robson

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