Robert Jon & The Wreck @ 02 Academy, Birmingham Tuesday 6th May

10 May 2025

Reviewed by Paul H Birch & Photos by Martin Tierney

Something feels just that little bit odd about the Academy tonight. Accustomed to unfriendly security on entry and bad beer to come, the staff outside are predominantly Sikhs treating us with respect. Inside, the box office presents us with impressive press lanyards and upstairs the drinks aren’t bad and not too excessive in price. The venue itself feels smaller than I recall, whether that’s my imagination it soon begins to fill out, for what will be Robert Jon & The Wreck’s debut live appearance in Birmingham, the band having circumnavigated it for the last few years.

Inauspiciously, the California-based Southern rock styled quintet stroll on stage, taking their positions, strapping on guitars and with just about enough leg room to shuffle about when the mood takes them. There’s a rumble of indistinct sound followed by more striking heavy duty chords and the great thump of drums as lights flash out above the stage and the staccato attack of ‘Hold On’ begins in earnest. Bass player Warren Murrel is wearing a smile and shades neither of which slip during the night, Stetson-topped Robert Jon Burrison himself is in fine form vocally tonight and when guitarist Henry James Schneekluth takes an early first solo we smile ourselves knowing we’re in for a treat, it’s short but sweet, as is another that follows a couple of verses later, but each is more inspired than a whole night’s playing from many another guy.

“How we doing out there tonight?” the front man enquires, declaring it’s “Good to see you all!” as keyboard player Jake Abernathie and Murrel begin to take us on a slow ride prior to power chords and a boogie riff lead-in as the singer tells us about how whiskey caused him ‘Trouble’. From the back, drummer Andrew Espantman is adding occasional backing vocals and harmonies alongside Schneekluth, each of whom take a solo, the number breaking down into a shuffle, over which Abernathie’s piano tinkles and Burrison tells us how they’ve been skipping between Europe and the UK the last week or so, the music edging between a more honky-tonk styled boogie and hard rocking sections during further solos, and some fine vocal harmonies throughout.

A church organ gives way to a crack of drums, and within a few bars you already feel ‘Ashes In the Snow’ is going to take on a epic form live. Harmonies run through this melodic but heavy ballad. ‘Red Moon Rising’ follows swiftly, the rhythm section funking it up as keyboards sprinkle jazzy refrains. Different to its studio rendition, effects driven guitars give way to overdriven ones meshing to create a psychedelic boogie, while Burrison gives it full throttle upfront vocally. More musical detours ensue, a most appealing vintage synthesiser solo from Abernathie included prior to Schneekluth taking a step forward, eyes closed, forever having us worry he’ll fall off the stage, instead we’re caught spellbound listening to him, “Wow!” being my listed comments on this Beck-like excursion along his guitar’s fretboard.

“We’d like to play you a new song that only came out last week,” the main man announces as they launch into new single ‘Better Of Me’. As with many of these songs tonight, there’s a much heavier delivery to the number, while retaining the integrity of its Americana roots. With grit and a growl, alongside more melodic crooning Burrison remains in top form vocally, his guitar playing chopping away as he moves about the stage. The song slows down as piano takes precedence, the band resounding on another chorus and a blistering guitar solo that gathers some heavy applause.

Close your eyes and you might think Deep Purple’s old management hadn’t raided the vaults completely some decades back, for up next is one of a couple of numbers from Robert Jon & The Wreck’s forthcoming long player that owe an awful lot to the former loudest band in the world. ‘Sittin’ Pretty’ is the number that cries out with a wail of distortion, as pounding drums lead us into the kind of riff that’s familiar but new, meaning there’s no hesitation for bodies within the audience to start bobbing and weaving in time.

Schneekluth switches over to a red Gibson SG for ‘Don’t Let Me Go’. There’s feedback and slide work laying into this earnest blue collar blues with gang vocals from those on stage and audience alike ensure it’s a loud swaying singalong. Burrison punches his fist to his chest as he sings out high, Abernathie’s keyboards holding the sound as Murrel hammers down on his bass before the group collapses back into the song for a final boogie-fest conclusion. Drink in hand, Burrison relates us with stories of their recent touring schedule. The workload continues to both hone their sound while allowing their creativity to branch out, and in the front man’s case hasn’t overburdened him as, live, he’s singing the best I’ve heard him. Close your eyes, and were it not for the lack of smell, you’d think you were in a smoky stateside bar, as ‘Glory Bound’ plays out like a ballad with added fiery guitar.

There are further changes of guitar, before Burrison comes back up the microphone stand. “Now are you guys ready to sing a little bit tonight?” he asks, and having done a little bit already, by the end of

‘Oh Miss Carolina’ they’re singing out load and proud. Sliding down the neck of his guitar, stirring the song into shape. Big and anthemic, a late night boozing weepie of a ballad; tonight, it’s more a song of shared solidarity than wistful musing. Halfway through, there’s a pause. A look of nervousness across the audience as they look to each other and the band, before Burrison laughs. Abernathie’s piano takes away the silence, “Come on!” cries Burrison and the audience take up the chorus before together with the band they bring the song to its conclusion. Raising a pint glass – of which there’s little drink ever been evidenced within – he salutes the audience, “That was awesome!”

Continuing to stir emotional pain, but this time reflecting on personal issues, ‘Ballad Of A Broken Hearted Man’ comes next. Broken chords cascade out into a melodic stomp, a deep gospel-tinged southern sound resounding throughout the hall, those group harmonies as bold and broad as when they first leant into their mics tonight. Burrison spits out angry words of self-damnation as the song stands side-to-side with Bad Company’s debut title track as near-as-damn statement of fact, if not intent.

Espantman hits a beat, “Thank you, you beautiful people, for coming out on a Tuesday night, on our first time in Birmingham!” Abernathie’s piano joins in, his playing almost avant garde; Burrison sustains his guitar, Schneekluth echoes his in refrain and the pair harmonise their playing with a warm sweetness of sound that carries through to the back of the hall despite the number being the last of their main set, ‘Cold Night’. The number percolates, shimmers, drifting in and out Lynard Skynard come Allman Brothers guitar melodies between harder impacting choruses, at every turn calling out epic, and when Schneekluth strikes out on his lonesome in solo, he continues to reach for the sky aurally, his choice of notes varying, surprising the listener with their well-defined touch of sensitivity and sparkle as the band speed up behind him things prove no less impressive. The harmony guitars return, then down to just piano and voice, and back for what feels a frenzied climax, Burrison riffing out vocally, only it for it to take another dramatic turn, thereafter Schneekluth moving across to Abernathie as they make out like the Mahivishnu Orchestra mavericks trading unwieldy jazz rock licks. There are cheers from the crowd, their hands raised clapping. And that’s not it either. More earnest rocking guitar soling ensues again, the frontline standing perches on the edge of the stage before the five bring the set to a satisfying conclusion.

With waves, they duck and dive off stage, their audience not budging as two fulsome encores ensue.

‘Tired Of Drinking Alone’ is heartfelt, brutally rocking while leaning on a country refrain. Blue lights flare out from the stage, powerful enough to make a grown man’s eyes cry, or at least that’s the excuse they’ll tell you. Schneekluth’s guitar screams out, races up the neck and completes the emotional outpouring that’s just been delivered. ‘Hey Hey Mama’ finishes the set, sitting somewhere between Dr Hook and ZZ Top, it boogies with a slinky funked-up roll, right up to the point Mr Burrison raises his Stetson to wave goodbye with a “See you next time – Thank you!” and they leave the stage triumphant, having charmed their first Birmingham audience.

Having caught Robert Jon & The Wreck a few times now, they always put on an impressive show. But, it’s their ability to swop and drop popular songs, and extend those in the set without compromising the strength of the song’s sensibilities that makes them an impressive band live. Tonight, they upload their reputation, as if that should be a surprise. The pleasant farewells offered from security staff ending a most pleasurable evening.

Set List: