Live Review: Hugh Laurie & The Copper Bottom Band

Screen to stage crossover tends to equal either soap star plus bad cover version, or character actor meets lost rocker (aka The Full Russell Crowe). Taking the beautifully lamp- and tapestry-set stage (complete with a coat rack in the corner) Hugh Laurie acknowledged the transition early and with thanks, promising “even if I fuck up you are in very good hands with the best band in the world, the Copper Bottom Band”. True bloody that. The seven-piece were incredible, with divine feature singers (they may have spent time towards the back of stage but they certainly weren't just back-ups), a tight-as drum and bass, multi-instrumental guitar/accordion/banjo maestro, reeds of various kinds and a magnificent lady trombone player. House's money (with A Bit Of Fry & Laurie), has been incredibly well spent.

Over two hours the group gave a history of the blues that Scorsese's doco team could only dream of, with Laurie on keys, scratchy vocals and generally the best seat in the house. From an opening singalong C'mon Baby Let The Good Times Roll (which he seduced us into by calling the room “Syd”) to a little panto with What Kind Of Man Are You, the playing with form and history was fantastic. Particular props to the mash-up of the original Spanish and English translations of the Kiss Of Fire tango (complete with said dance), Lead Belly's You Don't Know My Mind and an old faithful return to The Weed Smoker's Dream (the latter delivered with such brilliant style Laurie seriously seemed to tear up from behind the keys). In between tunes he gave sweet asides and mini lectures (“Bessie Smith may have well have invented the iPod, she is that important”), while also playing with configurations to let the girls take centre, then to a boys folk quartet, and back again. Mid-set helper “Will” arrived with a drinks tray, a gesture Laurie argued was his offering to the band to try to make up for his lack of skills, then he promptly toasted them, and us. From here we moved to gospel and then the soul of Nina Simone's I Wish I Knew How It Would Feel To Be Free, before returning for an encore including Chuck Berry's You Never Can Tell (complete with Pulp Fiction moves). This Laurie kid has nailed his new gig.