This dual line up was such an exciting gig combo. Opening with 24 year old singer James Bruner, Illinois born and Nashville based with his quartet, and influences such as Jet and Arctic Monkeys, Bruner performed and drove a rocket fuelled, Rock filled, high energy set. Following his 2025 EP 'The Otherside', and alongside his outstanding bandmates Zach Mears on lead guitar, sassy Shannon Wilks on bass and Sam Jenkins on drums, James delivered an electric, emerging Rock God performance that astonished me.

Moving on stage like Jagger, dressed in a black leather jacket with white retro shades, he later stripped down to his bare ripped chest! In between playing guitar, posing and courting the crowd with his music, the chemistry between Bruner and Wilks created the spark that saw them ramping up the collective venue voltage. Indeed, James' set was no ordinary flatlined fayre, duly prescribing this evening's early arrivals with one big musical dose of eclectic shock treatment, consisting of 'Switchblade', 'Can’t Keep Wanting You', 'Red Light', 'Big Shot' and 'Alibi'/'Wish I Cud Stay'/'Endless'. Deservedly preceded by band introduction's, Bruner closed this magnificent support performance with the very apt 'I Get Everything'.

An international globally respected award winning guitarist, singer and songwriter, crossing the genres of Blues, Blues Rock, Hard Rock and Pop Rock, I loved seeing and hearing Orianthi in London tonight! Her latest, uber listenable sixth 2025 album, 'Some Kind of Feeling', with its slick production and sound, is a small indicator of this outstanding Australian born American based artists stellar guitar talent and vocals. Indeed, Orianthi’s raw musicality and her fabulously fluent fretwork on her custom made guitars, can only truly be experienced live. I was in awe of her apparently effortless arpeggios and fluidity of her fingers.

Spellbound by Orianthi’s sound, and her range of tone, from BB King’s Blues number 'Never Make Your Move To Soon' to Hendrix’s 'Voodoo Child (Slight Return', she held me captivated with those around me at the bar and by the stage. I just, like them was enchanted. Orianthi was also warm with the capacity audience and appreciative of their respect.

Last in the UK in 2018, this tour was long overdue, despite the intervening Covid years. Her compositions and set resonated with me, the highlights of which were 'You Don’t Wanna Know', 'Rescue Me', 'Heaven In This Hell', her latest single 'Dark Days Are Gone', as well as her fun version of ZZ Top’s 'Sharp Dressed Man', that had me chuckling away. I was also so proud to see the UK’s Sam “Crampie” Collins fluently playing his best understated bass, obviously thrilled to be on tour with Orianthi.

However, visually there is a vulnerability to Orianthi on stage. Her shades and hat shaded her face and beauty from view. I sensed it gave herself the focus on what ultimately matters most, namely the relationship with her fingers, the fret and strings. To transpose Orianthi’s complex playing and extended solos would be like transposing a concert score. Scales were scaled flawlessly with the result of years of honed practice, a desire for smooth perfection and performance. Let's hope that she doesn't leave it as long to return to the UK next time, but when she does, just make sure you go see!

Review, photos and video: Denise Lester