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UID:ccc3cac9-5032-4ef6-8139-01c515cf1f80@findlocal.community
DTSTAMP:20261011T225810Z
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SUMMARY:Robin Trower
DESCRIPTION:Even now\, as he reaches his eighth decade\, with a lifetime 
 of accolades and a seminal body of music behind him\, Robin Trower is st
 ill chasing the biggest high he knows. It always starts the same way\, w
 ith a road-scuffed Fender Stratocaster and a revved-up Marshall amplifie
 r\, those skilful fingers exploring the fretboard until a riff sticks an
 d a new song ignites. And from the cultural flashpoint of Sixties London
  with Procol Harum\, through 1974’s stadium-filling Bridge Of Sighs\, ri
 ght up to this year’s acclaimed Come And Find Me\, it’s these addictive 
 moments of creation that have kept the guitarist vital\, relevant and co
 ntemporary while his peers trade on past glories. “Some people say I’m d
 riven\, but I think it’s just the love of doing it\,” reflects Trower of
  a multi-million-selling solo catalogue fast approaching thirty releases
  (and that’s before you compute his collaborations with everyone from Ja
 ck Bruce to Bryan Ferry). “I play guitar every day and just through mess
 ing around\, ideas happen. I can never feel the songs coming. But all of
  a sudden\, you get a sliver of an idea and you think\, ‘Oh\, what’s thi
 s …?’” Right now\, Trower stands on the cusp of a whirlwind year that wi
 ll see him put down heavy miles across America and the UK (“I’m chomping
  at the bit\, because I had to cancel a US tour last year due to an oper
 ation”). At the grand vintage of 80\, however\, this latest tour represe
 nts a mere stretch of the long road travelled. In his mind’s eye\, Trowe
 r can still see his Southend-on-Sea childhood in the ’50s\, and feel the
  formative influence of guitar players from across the water. “Rock ‘n’ 
 roll\,” he says\, “was my first love. I’m still drawing on that first lo
 ve for Come And Find Me.” When he reaches right back\, Trower’s earliest
  memory of that rebel movement is hearing Elvis sideman Scotty Moore (“H
 e probably had the best sound of any rock ‘n’ roll player at the time”).
  Next came a life-changing spin of a friend’s imported single\, which ha
 ppened to be B.B. King’s 3 O’ Clock Blues (“I just remember hearing the 
 bends and vibrato and thinking\, ‘How the hell is he doing that?’”). Alb
 ert King’s Crosscut Saw\, Jimi Hendrix’s Machine Gun\, James Brown’s Liv
 e At The Apollo: all of them informed Trower’s musical personality as he
  made his first moves in 1959 with R&B hopefuls The Paramounts. The big 
 time beckoned in 1967 when Trower joined A Whiter Shade Of Pale hitmaker
 s Procol Harum\, and many guitarists would have clung to that enviable p
 osition for life. Trower acknowledges his good fortune at being at the e
 picentre of that late-’60s youthquake (“I still think it was the epitome
  of UK popular music and rock ‘n’ roll”). But Procol’s band dynamic coul
 d never contain all his ideas\, and after five acclaimed albums\, Trower
  rolled the dice on a solo career. “It was something I had to do\,” he t
 old Classic Rock. “But it could have all gone awry.” Needless to say\, t
 he history books have vindicated him. By 1974\, Trower was a major star 
 in the land whose music had inspired him\, with Bridge Of Sighs’ heavy s
 oul achieving Gold US sales and influencing future luminaries like Steve
  Lukather\, Metallica and countless more. “When I hear Bridge Of Sighs\,
  it’s like the earth under my feet is moving\,” the highly rated Canadia
 n bluesman Philip Sayce told Guitarist in 2024. “It’s like a chest is he
 aving.” Trower himself is still proud of that deathless record (“I recog
 nise the potency\, especially with Jimmy Dewar’s fantastic vocals”). Yet
  the veteran doesn’t dine out on Bridge Of Sighs – or his other hit albu
 ms of the late-’70s like For Earth Below\, Long Misty Days and In City D
 reams – preferring to march ever onward. Stick a pin in his catalogue ov
 er the past decade alone and you’ll find projects from 2020’s United Sta
 te Of Mind supergroup alongside Maxi Priest to the pairing with New York
  vocalist Sari Schorr on 2023’s Joyful Sky. “She’s dynamite\,” he says o
 f the latter\, “and I’ll Be Moving On is a particular favourite of mine 
 from that album.” Tracked last year during four separate sessions at New
 bury’s Studio 91 (the setting for all Trower’s recent solo albums)\, the
  genesis of Come And Find Me speaks volumes about the guitarist’s late-p
 eriod momentum and high standards. “Here’s the thing\, I had enough mate
 rial for two albums\,” he reflects. “I must have recorded 18 songs\, all
  finished. I honed that down to ten songs\, but when I listened back to 
 the album again a few months later\, it didn’t quite hang together. So I
  recorded some new songs\, knocked others off the previous running order
 . A lot of work went into Come And Find Me – but it really does hang tog
 ether well now.” Never one to let interviewers too deep into his headspa
 ce\, Trower once explained that each new album is a snapshot of his situ
 ation and worldview at that moment. As such\, Come And Find Me is the be
 st way to know the guitarist better in 2025\, and this new record is cle
 arly not the work of a lofty rock star but an engaged participant in the
  real world\, with relatable loves\, hates\, hopes and fears. “Musically
 \, there’s a strong R&B flavour behind it\, but it’s obviously rock ‘n’ 
 roll\,” he explains. “Lyrically\, I think the world has become a lot dar
 ker in the last ten or twenty years. But there’s always hope. There’s mo
 re good people in the world than there are bad.” Always a sociable music
 ian and generous collaborator\, Trower enlisted his trusted studio band 
 for Come And Find Me. Drummer Chris Taggart once again drives these powe
 rful songs\, with returning US bassist Glenn Letsch providing low end on
  two tracks (Trower played the remainder). Long-standing vocalist Richar
 d Watts brilliantly interprets the guitarist’s highly personal lyric she
 ets\, while guest singer Jess Hayes is a head-turning addition for Tangl
 ed Love’s tough\, choppy soul. For the fairydust\, Trower turned to Stud
 io 91’s owner Sam Winfield for the engineering and final mix – but the g
 uitarist was intimately involved with every element. “For me\, working o
 n a new song is a 24-hour job\,” he explains. “It’s always on my mind. I
 ’ll wake up in the middle of the night thinking about it.” Likewise\, th
 e Come And Find Me tracks will take up residence in your head. A Little 
 Bit Of Freedom starts in combative style with a blast of wah guitar and 
 a bold first line (‘I don’t need no-one to think for me’). “I had a stro
 ng sense that red tape and rules are really constricting things in the w
 orld\,” says Trower. “Too much red tape\, not enough freedom to think – 
 it’s got to where you feel straitjacketed.” Trower’s ambivalent stance t
 o the times is also writ large on cuts like the tremolo shudder of The F
 uture Starts Right Here (“We’re becoming so tribal and taking sides\, li
 ke\, ‘Oh\, you’re not with me – I must hate you’”) and the stinging With
 out A Trace. “That song is about all the lies in politics\, mostly\, and
  on social media. You know\, this absolute out-and-out lying\, to try an
 d influence people.” Elsewhere\, the guitarist’s famed musicianship take
 s centre stage. Try the glowering angst and molten solo of Take This Hur
 t Away (“That song actually started when I thought to myself one day\, ‘
 I wonder what I would come up with if they asked me to write a song for 
 a James Bond film…’”). Or spin the swampy One Go Round\, which lived up 
 to the ‘seize-the-day’ lyric with its rapid birth in the studio. “That w
 as almost an instant finished thing. It was like a hot knife through but
 ter. All the lead work was improvised\, and it’s exactly where I live. T
 he lyrical meaning is pretty obvious. You only get one go round\, so try
  and make the most of it.” As the album unfolds\, Trower reminds us of h
 is ability to write a cliché-free love song\, via the hard-driving I Wou
 ld Lose My Mind\, the glistening smoulder of Capture The Life Begun and 
 the push/pull groove of I Fly Straight To You. “That’s pretty basic stuf
 f\, isn’t it?” he smiles of the latter. “A guy is mad about a girl. It’s
  almost like a Beatles lyric\, like\, ‘I want to hold your hand…’” Come 
 And Find Me is a grand statement that demands a big finish\, and Trower 
 duly reserves a very special guitar solo for the closing Time Stood Stil
 l\, his emotive string bends and shivers of vibrato matching a hypnotic 
 vocal that finds two lovers stopping the clocks in each other’s arms. “I
  had that complete piece before I started on the lyric\,” he says. “I th
 ink it’s beautiful. It’s a lovely feeling to go out on.” Fiery\, thought
 ful and fuelled by real human emotion in a time of machine-generated mus
 ic\, Come And Find Me is hardly the work of a rock icon resting on his l
 aurels. On the contrary: keenly aware of passing time\, Robin Trower has
  made it his late-period mission to capture as many shards of magic as p
 ossible. “In one way\, I can’t believe it\, that I’m still going at 80\,
 ” he says. “It’s kind of scary. You know that you’re way down the road\,
  and you could hit a brick wall at any time. But I still love doing this
 . For me\, there’s nothing more rewarding than working on a new song…”\n
 \nTickets: https://www.axs.com/events/1430984/robin-trower-tickets?skin=
 pabst\n\nhttps://findlocal.community/event/ccc3cac9-5032-4ef6-8139-01c51
 5cf1f80
LOCATION:Pabst Theater\, 144 E. Wells St.\, Milwaukee\, WI 53202
URL:https://findlocal.community/event/ccc3cac9-5032-4ef6-8139-01c515cf1f8
 0
STATUS:CONFIRMED
SEQUENCE:0
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