REVIEW: Allentown’s Blues Brews & BBQ brings downtown alive with The Peterson Brothers, Albert Castiglia, more
June 11, 2017 - bbq set
Miriam Huertas, comparison clamp boss of Allentown Initiatives for a Lehigh Valley Chamber of Commerce, took a categorical theatre Saturday between blazing blues acts during Allentown’s giveaway downtown Blues Brews and Barbecue festival, that was celebrating a decade of existence.
“This was a 10th year,” Huertas said. “So we knew we indispensable to flog it adult a notch.”
And flog it adult a festival did – in nearby each way, yet unequivocally with a title strain acts.
The Peterson brothers, dual barely-legal kin guitarists from Texas, played one of a funkiest, many fun title sets a festival has seen.
And Albert Castiglia, whose 2014 manuscript “Solid Ground” strike a Top 10 on Billboard’s Top Blues Albums chart, blazed by a set of permitted populist blues.
With near-perfect continue by a time Castiglia took a theatre – high temperatures of 86 had cooled to a gentle 81 by afterwards – a PPL Plaza on Hamilton Street was a sea of people staid in to be entertained.
And Castiglia entertained them. His set off a dozen songs in 90 mins had a George Thorogood vibe – withdrawal a assembly feeling like it had detected a hardest-working, many means bar-band blue contingent there is.
Castiglia’s early turns on Brian Stoltz’s “Up All Night” (which he pronounced he usually available for a new CD), Freddy King’s ”Can’t Trust Your Neighbor” and Junior Wells’ “Hoodoo Man Blues” (on that he extrinsic “Allentown” into a lyrics) showed Castiglia could slice on guitar, yet it mostly was some-more about speed than intention.
And his vocals were Thorogood-esque – a smoothness of an everyman filled with attitude.
Crowd during Allentown’s Blues Brew BBQ on Saturday
Crowd during Allentown’s Blues Brew BBQ on Saturday
(JOHN J. MOSER/The Morning Call)
But Castiglia got improved as his set went on. His possess “What a Hell was we Thinking” was a racing blues rocker. “Lovin’ Cup” also was blues rock, with a hold of roller stone combined for good measure. (He played a latter as a request, after jokingly replying “We were gonna do a Justin Bieber song, yet we can do that one.”
And he ripped during another request, Guitar Slim’s “The Things That we Used to Do.”
Castiglia’s personification found a goal later, with pointing playing, sundry playing, and showboating with his hands all over a guitar. On a late-set instrumental, he played half a strain regulating usually his palm on a frets – even personification while chugging a crater of drink with his other hand.
“Hey that was fun – let’s do that one again,” he joked afterward.
He sealed his set with a unequivocally good “Get Your Ass in a Van,” his hands drifting all over a guitar on a jaunty malediction about immature players not wanting to compensate their impost with a musical refrain “This ain’t ‘American Idol’/Ain’t no deals being done during a crossroads.’”
Earlier in a show, Castiglia pronounced that if not for Wells, “I wouldn’t be here right now. we would be operative during a gratification bureau in Miami, Florida. Now I’m on a other side. That’s OK, income isn’t everything.”
Perhaps that’s what keeps Castiglia still creation strain as if he was hungry.
Headliners The Peterson Brothers were a guitar prodigies there were advertised as.
In a set that lasted usually over 90 minutes, they displayed personification talent that was not usually impressive, yet intuitive. How they know so many during their ages (lead guitarist Glenn is 20; five-string bassist Alex is 18) is amazing.
Their 12-song set of funk-rock-blues, corroborated usually by a drummer, enclosed several instrumentals that showed usually how good they are – Alex extravagantly slapping his drum from a start and Glenn personification alone means lead.
They played The Spinners’ “I’ll Be Around” as smoldering musty rock. Albert Collins’ “If You Love Me Like You Say” became scratchy-guitar despondency that sounded like Prince.
And a late-set, 15-minute instrumental was an startling arrangement as a brothers not usually played as musty as The Time, yet cribbed some of that band’s choreographed dance moves, as well.
Showing usually how well-schooled they are, a brothers stopped passed in a core of a seminal blues-rock customary “Don’t You Lie to Me” and paused a good 20 seconds, station as still as statues, before ripping into a parsimonious finish.
But The Peterson Brothers showed they could play normal blues, as well, profitable probity to Bobby “Blue” Bland’s “I Wouldn’t Treat a Dog” with their many conscious guitar to that point.
The set’s finish was great. As temperatures dipped to a gentle 73 degrees, a good zephyr kicked adult as a brothers easily stepped into an other-worldly “Amazing Grace” on guitar and fiddle, detonate into a kicking, 12-minute chronicle of “Got My Mojo Working” on that they came out into a throng to play.
With that kind of talent this young, it’s going to be engaging what The Peterson Brothers do when age unequivocally gives them a blues.
Those headliners indicated usually how good a day of strain a 10th annual Blues Brews and Barbecue was, with 14 acts on 5 stages via a downtown.
The streets were packaged – as full as final year’s estimated throng of 20,000. Perhaps that’s what led to one of a day’s complaints: inordinately prolonged drink lines, notwithstanding a distance of a festival’s 3 drink tents being increasing this year.
It also was extraordinary how churned and multicultural a throng was – by age, by race, by apparent amicable status. The festival was a loyal melting pot.
And what was unequivocally revelation was that, even divided from a categorical stage, Allentown’s downtown streets – and bars and restaurants — still were unequivocally full during 10 p.m. People were packaged around a core city relic to watch a festival-closing fireworks.
And that is a festival’s whole thought – to get people into downtown Allentown.