This is a very special group. They make a noise no one else in Britain is making, and no one else really could make. They play with a feel for groove, a wildness in the arrangements and a sense of purpose that haven’t been heard on these shores for too long a time. Reflecting their musical backgrounds, the sound is almost absurdly eclectic, taking in everything from gospel and blues, to psychedelic tango and, or course, good old rock ‘n’ roll. There’s no auto-tune, no quantized beats, no over-compressed gated-snares: just people in a room playing with sweat and groove – and loving every second of it.



The songs still have those big Borrell hooks, but there’s something else here too, a new self-awareness, daring and willingness to take risks. After the sniping that followed Borrell 1 another songwriter might have retreated to the comfort zone. Johnny went the other way. There’s no industry ploy here, no slick hard sell, no approval seeking. This is real. It’s the sound of a songwriter and a band genuinely pushing themselves through all their musical knowledge to discover something classic-and-yet-kind-of-new.

A seven-minute album opener – why not? Latin grooves with a string quartet – why not? Be-Bop versions of songs from Twelfth Night – why not? New Orleans-style gospel covers of songs from Bob Dylan’s odd 80s Christian period – if it feels good, do it – why not?
The fun is definitely back. And that was always the point. As incongruous as it may sound, this is probably the least cynical band playing in London right now.

Has Johnny Borrell gone mad? Well, maybe. But maybe a bit of madness is what great music needs? Maybe getting crazy and letting go has led Johnny to make the best album of his career?