About this Event

SARI SCHORR & The Engine Room

support from MARIA OWEN

BRISTOL LOUISIANA

Thurs 16th Nov

16+ show

Tickets £12adv

Doors 7.30pm –11pm

Ticket Line 0117 9299008



Online tickets

www.bristolticketshop.co.uk/?/171116LOUSARI1



Video www.youtube.com/watch?v=odWNjjuLoN8



SARI - www.facebook.com/SariSchorrMusic

MARIA - www.facebook.com/MariaOwenMusic/



Singer and frontwoman Sari Schorr, Robert Plant guitarist Innes Sibun, keyboardist Anders Olinder, drummer Mike Hellier and Kevin Jeffries on the bass deliver a lesson on blues rock entertainment on the edge of the superlative in the 100 minutes of Roth.



Sari Schorr has rarely been seen on a Frankish stage lately. A charming, always smiling, charismatic singer with a sovereign presence, who radiates a lot of warmth and gratitude that she can stand on a stage of the Rother Bluestage. Their stories, partly in sweet German, around their band, the blues, the songwriting and their pitbulls provide much amusement in the audience - if Sari Schorr does not bust as a lady 100,000 volts. As a trained opera singer, she creates voices with her voice, which are facetiously perfect. She is full of power, emotions and devotion. . . Sari Schorr, the name does not necessarily sound like a star, but the New York Rocklady will conquer the Bluesrock world.



Roth, the Blueshauptstadt of Bavaria, will definitely experience a memorable Germany premiere of the five-headed combo. And it will soon fill larger halls and halls. You can not go pastsari and co. The makers of the Bluestage is really a luck of luck. Also the photographers at the stage edge get into the swarm and start dancing as Sari starts.



Dirty, greedy, angular or sensitive, sensitive and full of goose bumps. And the Fankontakt also seems to be still fierce. Just 25 centimeters separate the band and audience, electrifying proximity on both sides, especially when Sibun builds up in front of the fans in a close-up, hair and guitar strings circling. There he is, the real Rother Blues Spirit. Danger of explosion on the stage edge, rarely experienced feeling.



Sibun was once guitarist of Led Zeppelin's Robert Plant, so it is clear that he is anything but a runner. It excels in terms of speed and technology, the accelerator pedal at the stop, but always loose and flaky. This brings a lot of force into the Sensationgig.



Eyes and ears on what Sari and Co offer. For example, an absolute class version of Black Betty (a classic also referred to as Leadbelly and well known in Jam Jam's 77s version) begins melancholy, almost tenderly, then is blown up by siren Sibun that is a true one Splendor, and mutates to the monument. One of the strongest numbers in the set that evening, although almost every piece has something special.



Led Zeppelin is acclaimed at "Rock 'n' Roll", you can almost believe the female edition of Robert Plant is there. But also Janis Joplin and Patti Smith sound through. Incredible and varied, the lady sings - as in the Nirvana leadbelly classic "Where Did You Sleep Last Night." And "Stormy Monday Blues," a total of 17 pearls in the Galaxy Bar Lounge to kick off their "A Force of Nature" epic film, produced by legend Mike Vernon.



On this Wednesday evening, about 250 enthusiastic fans in Roth, Sari Schorr played with Eric Burdon, Buddy Guy, Edgar Winter and Walter Trout in the venerable New York Carnegie Hall. In 2015, she was honored at the "International Blues Challenge" in Memphis - and just now celebrated in Roth frenetically.



"I am a storyteller," the lady thanks her fans at the end of the concert, but what a. Just as she is the power woman on the stage, she is also modest and courteous afterwards at the signing session. Sari and Co set the bar of the 26th Bluestage damned with their appearance in Roth.



MARIA OWEN

With over 15 years experience of writing, recording and performing at live gigs and tours across the UK and Europe, Maria is a solo acoustic musician and multi instrumentalist currently working on her first solo electronica/ post rock album scheduled for release in January 2018.



Maria started playing live gigs at the age of 16 around bars and clubs. With a strong voice and broad vocal range it was not long before she played her debut at Glastonbury festival. Within a 15 year career, Maria has played live shows across the UK and Europe sometimes as a solo artist and others as part of a larger collective; recording session guitar and vocals with a range of artists with styles ranging from Rock, metal, Punk, Opera and Blues, Hip- Hop, Soul Jazz and Pop. She has also supported artists including Ozric Tentacles, Jackie Leven, Fish and has played numerous festivals.



Reviews:



“Maria can sing with the grace of an angel or the snarl of a demon, often within the same song. She has a truly remarkable vocal style, which is best described as a blend of Siouxsie, Stevie Nicks, Kate Bush and a touch of Yoko” - Mike Foley (Metaltalk.net)



"Maria has been given a gift from the gods. Her voice is truly world class and is one of the most pure and resonant sounds I've ever heard" - (Dylan Thomas Fringe festival)



“Our last act of the evening was Maria Owen, an ex-resident of these parts now firmly embedded down (I think) Exeter way. Resplendent in funky red shoes and sporting bright green/blue hair, looking a bit (to my mind, anyway) like a punk rock Elizabeth I, she took the stage just as the drink was started to take hold and people were loosening up and spouting whatever cr*p was on their minds; but happily, when it became clear to even the most fuzzy brained people that we were about to witness The Main Event, the noise level dropped and attention shifted back to the crazy-haired peacock lady with big ol’ Guild dreadnought acoustic guitar, sat on the stage cackling uproariously at something or other.



I’ve known Maria many years and have always been a fan, principally because – amongst her other talents – Maria has a voice like a goddamn melodic foghorn. You won’t hear many people who can sing like her; no messing. Force of nature. I once had to share a microphone with her onstage in (I think) The Tav, years back; it feels like a lifetime ago now, and details are understandably vague, but I quite clearly remember being totally taken aback just by the sheer volume she was putting out. Totally blew my mind, and since then I’ve always had a great deal of respect for her, as you naturally will for someone who can sing beautifully at 95 decibels and not miss a fucking note.



Every time I see her these days she’s deeply embroiled in a series of eclectic album projects, ranging in genres from 8-minute-plus metal odysseys to “Lady Gaga-esque” synth-led dance tunes to acoustic balladeering to...well, you get the picture; a restless soul.



One thing that was immediately apparent to anyone with ears is that she’s got complete control of her voice as an instrument; despite the power and volume there’s a subtlety and carefulness in her phrasing that makes you shut up and listen. I haven’t got extensive notes as to what she actually played, because I was too busy listening and enjoying myself (I am Mr. Professional) but the scrawled phrases in my notebook seem to indicate that she was very, very good. It’d be hard to pinpoint her sound without diving into female artist stereotyping – and, also, she does tend to genre-hop – but it would be remiss not to mention the names of PJ Harvey and Kate Bush, sharing with the former an absolute bedrock conviction to climbing inside her songs and sharing with the latter what I can only describe as the ability to do a “super-falsetto”.