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Two days after a different type of blue swept the nation, one of the country’s leading blues harmonica players Paul Lamb led his band the Kingsnakes through a blistering set. The Lichfield Guildhall gig was a fitting way to close Lichfield Arts Spring 2015 season. The group, which consists of Paul Lamb on vocals and harmonica, Ryan Lamb on lead guitar, Chad Strenz on vocals and rhythm guitar, Rod Demick on bass and drummer Dino Coccia, put on a show that was full of musical inventiveness and playing that was both spectacular and sensitive. They played songs from throughout their career, and included many pieces from their latest release, Hole in the Wall, as well as covers of songs by luminaries such as Sonny Terry and Brownie McGee, and numbersfrom the traditional blues repertoire. The action-packed concert started with the swinging blues of Hole in the Wall, but they changed tack for a fine performance of Smokey Robinson’s You Really Got A Hold On Me, which was a fine showcase for the soul infused vocal prowess of Chad Strenz. Jumping Julie was a fine piece of jump-jive swing jazz, with unison harmonica and guitar parts, while The Adopted Child was a slower, more politically charged ballad. The Pillow was a fine original about the vagaries of love and relationships, before set closer, Joe South’s The Games People Play, was a singalong number for the audience to join in with. The second half of the concert seemed to be slightly more downbeat, starting as it did with a fine performance of Ida May – a song by the harmonica and guitar duo of Sonny Terry and Brownie Mcgee, who also wrote the more upbeat Preaching the Blues which followed. Ryan Lamb’s own Your Cheating Eyes was another fine performance, father and son trading musical ideas over a rocking 4/4 beat, while instrumental The Groove Hall was a fine display in musical telepathy between all of the musicians. The set closed with the topical, and surprisingly upbeat, Depressing Recession, Chad Strenz’s voice echoing the sentiments within the song. An encore of Hootin and Tootin featured everything from train sounds, atonal chromatic note clusters, and a walk around the appreciative audience, before the rest of the group joined in for a rousing accapella version of the Midnight Special, a fitting way to end the concert.