Robin Trower turns a mere 80 years young early in 2025 but, as can be heard on his latest album, he’s still writing and performing new music. He is gearing up to hit the road with his beloved Fender Stratocaster for a tour across the UK and USA. Rather than simply resting on his laurels and revisiting familiar hits during live performances, Trower continues to push forward creatively. Trower is still exploring what’s possible on his guitar, still attempting to capture “as many shards of magic as is possible.” His playing has inspired musicians as diverse as Steve Lukather, Toto, and Hetfield and Hammett from Metallica.
His previous album, Joyful Sky, saw US blues lady Sari Schorr take vocal duties, but she’s absent on this release. A pity as her voice was one of the album’s key features, bringing a real smoky edge with her soulful voice, and Trower, for me, has always been at his best when he’s with a vocalist who’s as good at singing as he is on guitar. The late James Dewar comes to mind. Here. Richard Watts handles lead vocals, except on ‘Tangled Love,’ where guest vocalist Jess Hayes comes onboard, and her singing really adds something extra.
From the distinctive wah-wah introduction of ‘A Little Bit of Freedom,’ Trower proves that his skills remain sharp. The influence of BB King is prominently featured in tracks like ‘I Would Lose My Mind’ and ‘I Fly Straight to You.’ Trower’s signature bluesy, soulful style shines through in this collection. Pieces such as ‘Take This Hurt Away’ and ‘Capture The Life Begun’—the latter being a poignant, slow-burning blues that stands out as my favourite track on the album—are truly exquisite. Additionally, ‘Time Stood Still’ concludes the album with some beautifully atmospheric, slow guitar work.
Trower’s not just all about the blues, though. ‘Without A Trace,’ a song about lies spread on social media, and ‘The Future Starts Right Here,’ about a broken relationship, are both more rock-oriented. His solos are rarely extensive, playing only what’s required and doing so without the need for pyrotechnics. Several leading guitarists could learn something here.
This is an album by a musician, someone who’s grievously underrated, who puts real soul and feel into his playing. Few artists of his vintage are still recording albums of new music, but Trower, like Jon Anderson and Neil Young, has kept the flame burning and the desire strong. Trower shows no sign of slowing down and, while he can still play and make albums like this, why would he even want to?
