Completely changing its structure and way of working, Best Of Blues 2024 took place not only in São Paulo, but also in three other cities: Rio de Janeiro, Curitiba, and Belo Horizonte, bringing together a series of artists.
In the São Paulo edition, which took place last Saturday, the 22nd, Di Ferrero , CPM 22, Eric Gales , Joe Bonamassa and Zakk Sabbath .
The festival took place in Ibirapuera Park, with performances starting shortly after lunch, with the lead singer of Nx Zero taking the stage at 2 pm, and the veteran Zakk Wylde closing the night with one of his projects.
Eric Gales
Extremely excited to be here in Brazil, Eric Gales delivered a very technical and danceable show. It's truly impressive how well he masters his instrument. This was evident from the very first chords he played on stage, and it remained consistent throughout his entire performance.
One of the highlights of the afternoon – almost evening – was the track “You Don't Know The Blues”, from his most recent album, Crown , released in 2022. Mixing a series of elements into the track, it features a pleasant melody, as well as a catchy chorus, repeated throughout much of it, which also includes a good guitar solo.
Gales has a great backing band that accompanies him and creates the essential "backdrop" for the musician to perform very well on stage. The show he delivered was definitely among the best of the afternoon. It's fun and light, with groove elements that make the audience appreciate the music.
A calm yet powerful track was “Too Close To The Fire.” The sunset provided the essential detail the song needed. With the light already low and the artist nearing the end of his show, the stage was illuminated with lights that created all the necessary atmosphere for the images and sound to be etched in the minds and hearts of the fans.
Another interesting point of his performance was when he began to play, instrumentally, rock classics in medley form, such as "Back In Black" by AC/DC and "Kashmir" by Led Zeppelin , obviously in an extended manner and always giving considerable focus to the guitar solos, which were lengthy but still never boring.
Offering a heartfelt thank you to Brazil, which he described as his second home, Gales concluded his performance in a very satisfying manner. It was a short show, lasting an hour, and the fact that the songs were long meant there were few on the setlist.
Another important point to highlight is that, for this very reason, some people may not enjoy the show as much, precisely because of the amount of instrumental music, but the musical quality that Eric Gales and his band bring, both in the studio and in live performances, is undeniable.
The songs are groovy and catchy, capturing the essence of the blues in its purest form. Another detail worth highlighting is the artist's voice, which perfectly complements the musical style.
Joe Bonamassa
Taking to the stage in style, Joe Bonamassa began his show in a São Paulo that was already dark, around 6:30 PM.
Completing the guitarist's band are seven musicians, including him: rhythm guitarist Josh Smith, drummer Lemar Carter , bassist Calvin Turner , backing vocalists Jade McCrae and Danielle De Andrea , and keyboardist Reese Wynans .
Also responsible for the vocals, and with a good vocal range, the artist possesses a deep voice that contrasts excellently with the softer, higher-pitched voices of the backing vocalists.
A particularly noteworthy moment for the singers is in the song "24 Hour Blues," originally by Bobby "Blue" Band , when the guitarist plays a solo while the two sing parts of the song.
Another track worth highlighting is the one that followed, also a cover, this time of Guitar Slim's "Well, I Done Got Over It," featuring a performance with a very well-crafted solo, as well as solid drum lines that tie the performance together.
The colorful stage lights were a highlight when "Love Ain't A Love Song" was played, perfectly exemplifying what a Joe Bonamassa show is all about. A groovy and melodic performance, with all elements combining in perfect harmony, a masterclass in technique.
The structure of Ibirapuera Park was completely adapted so that the top of the stage could act as a giant screen, serving as the perfect backdrop for "Self Inflicted Wounds," a poignant yet powerful song.
She is even more beautiful in person, acquiring a different kind of beauty, which is perhaps the best moment of the show.
With a solid keyboard performance on "I Want to Shout About It"—another cover, this time of Ronnie Earl and the Broadcasters Dee Purple influence , they continued the evening, also delivering another good performance from the backing vocalists.
One difference between Joe Bonamassa's and Eric Gales' shows is precisely the vocal composition of the songs. Although Gales has a good voice that aligns well with his music, Bonamassa's show has a grander atmosphere, heavily influenced by this aspect.
Not only is the guitarist's voice quite prominent, but the harmony it creates with the women's voices is responsible for a very pleasant and melodic atmosphere, making it a complete asset to the instrumentalist.
Another interesting detail that adds a lot to the show is the keyboards, which are responsible for giving the songs an extra touch.
It's also worth mentioning the drums, responsible for creating the entire rhythm of the show, in a very present and striking way, with a danceable beat.
“The Heart That Never Waits”, from the 2021 album Time Clocks , arrived just as the show was about to end. In a flawless performance by everyone, especially the guitarist, the band delivered an excellent show.
Nominated for best show of the festival, Joe Bonamassa finished his performance with "Just Got Paid," an original ZZ Top , in the same way he began: with excellence. Never letting the bar drop, the guitarist showed São Paulo why he is one of the biggest names in blues.
Delivering a technically masterful show, the musician offered a performance that would easily be one of the best I've ever witnessed.
Zakk Sabbath
It's not common knowledge, but Zakk Wylde has a project where he plays only Black Sabbath . Responsible for closing the night, the band took the stage at 8:30 PM and was definitely the most anticipated act of the evening.
With the bass lines prominently featured, the band kicked off the show with "Supernaut," from the classic Vol. 4 , released in 1972. Right from the first lines of the song, it's possible to notice the similarity between Wylde's and Ozzy Osbourne's .
The vocals, even if sometimes a little out of tune, add an extra detail to the songs. "Snowblind" was one of the tracks that showcased the skills of the trio that makes up Zakk Sabbath, making it possible to clearly and distinctly hear all the instruments, with none of them overpowering the others.
The guitarist's solos need no introduction, and here he performs them in a long and detailed manner, even carrying the guitar behind his back while still playing the instrument.
John “JD” DeServio 's bass lines . Unlike many bands, they are as clear and loud as the guitar itself, which definitely adds weight to the track, all complemented by Joey Castillo .
The show was quite intense, and that was noticeable right from the first songs, especially "Tomorrow's Dream".
In terms of performance, Zakk Sabbath was the most disappointing. Delivering a slower and less exciting show, the long solos were noticeable, but not in a good way, making the performance tiring.
However, the band's technical skill is undeniable. Another detail that pleases Black Sabbath fans is the fact that the project features more B-side songs, excluding some of the great classics, which is also a factor that restricts the band's popularity.
For example, one of the best-known songs the trio played by the British group was "Fairies Wear Boots," and yet it's not among their most famous.
A good choice to include in the show's setlist was "Into The Void," from the excellent Master Of Reality (1971).
Engaging the audience and promoting interaction, Zakk Wylde and the band played "Children Of The Grave," which preceded "Lord of this World," showcasing the entire band sounding cohesive, heavy, and powerful, especially the drums.
In “Behind The Wall Of Sleep”, it was even difficult to understand what the vocalist was singing, but he delivered a great bass solo, allowing the audience to feel all the power that the instrument possesses.
The most famous songs came to close the set, with "NIB," from Sabbath's self-titled album released in 1970, and finally, "War Pigs," from Paranoid , also released in 1970. These were definitely the moments when the audience was most enthusiastic, singing along with emotion.
Even with a short setlist, the feeling the show gives off is one of exhaustion. The songs are very well executed and worked on live, but at the end of the performance it feels like much more time has passed than it actually did.
Precisely because Zakk Wylde has other more popular projects, such as Black Label Society , Zakk Sabbath mostly attracted fans of the original band and the guitarist himself. If he had played at the festival solo, performing songs from his own work and bands he's been a part of, perhaps the performance would have been more interesting and dynamic.
At the end of the night, it was clear that the most anticipated act of the festival didn't deliver the best show; that honor went to Joe Bonamassa, who delivered a truly definitive performance.
Our collaborator Beatriz Manola was also at the festival and captured some great photos. Check out our photo gallery:
