“Lincoln is not known for its musical prowess. Buying in ageing musical hiccups like Mike Pinder’s Searchers, Leo Sayer, and the occasional tribute band is about the city’s forte. Mind you, last year we did have Jools Holland appearing at the Castle. The highlight of the year, for most. So the idea to stage a low-key concert appealing mostly to bass aficianados could have been perceived as the kiss of death. Could be, but wasn’t. Far from it, in fact.
‘An Audience With Steve Lawson’ was sold as a musicians’ evening, appealing to a discerning public’s sense of taste. To some it was a journey into the unknown. An evening of solo bass. Curiosity won the day, perhaps swung slightly in its favour by the addition of support act Jazz From Hell, a trio of Lincolnians who put on a solid performance of classics and own compositions. At times we were treated to a blitz of notes. “I’ve never played so many notes in my life,” said an obviously impressed Steve Lawson. “Yes you have,” retorted some wag.
Lining up on stage was Steve’s favoured Modulus 6 string fretless, Modulus fretted 4 string and a fretless Renaissance 5 string acoustic bass, played through an Ashdown combo linked to a Trace Elliot 2×8, Lexicon JamMan and a Lexicon MPX-G2 multi-effects unit. The only item left behind in the car boot transported from London was Steve’s uncle. We all thought he was joking but, by all accounts, the ashes were stashed safely away by the spare wheel. Diplomacy won the day, as we chose not to pursue the subject.
Preamble over, Steve comfortably moved into almost an hour-long set of loops layered with haunting melodies; self-composed tunes that drifted in and out of your sub-conscious; mellow soundscapes that gently floated like confetti on a warm breeze, on occasion enhanced by the eerie sustain of an E-bow, its blue LED piercing through the light.
Apart from a peppering of Steve’s friends in the audience, the majority of the audience would have been in the dark about what to expect. None could fail but be impressed by the set. Steve plays with a wonderful fluidity. His fingers glide lovingly, effortlessly over the fretless, the chording and intonation never less than perfect. Whether a simple, relaxed glissade or a line demanding huge control and dexterity, his fingers did the talking.
As a music journalist, I have interviewed hundreds of name bands, attended rehearsals and recording sessions, even jammed with Mark King who, to me, was God. Times change, bass players come and go. Yet some names and progressions stick in the memory bank. My heroes, like most of you out there, are today’s and yesterday’s virtuosos – Jaco Pastorius, Abe Laboriel, Victor Wooten, Michael Manring… yes, and Steve Lawson.
Like Jaco’s finger-pumping runs and a slap-happy Mark King of old, Steve can be slick when necessary, pumping out the notes in jaw-dropping time, but bass playing isn’t all about that. It never was. I believe it was Marcus Miller who once said that what you leave out is as important as the notes you play. How right he was.
With a new CD imminent of his live set at The Troubadour, Steve Lawson is preparing to move into the next phase of a burgeoning career. You wouldn’t think it could get any better. But it no doubt will.