Hallowed space ideal for band turning devil’s music into divine

Stuart Maxwell’s Blues Raiders

St Leonard’s Church, Watlington

Saturday, October 18

STUART Maxwell’s Blues Raiders transformed sacred space into a vibrant arena for soulful sounds. Fronted by the seasoned harmonica virtuoso and singer Stuart Maxwell alongside Derek White on bass, Jason Reeve behind the drums and Matt Edwards playing guitar, this quartet gave an evening of raw energy and heartfelt narratives.

Drawing from legends like Muddy Waters, Howlin’ Wolf, Junior Wells and Bill Withers, they wove originals into a tapestry echoing Black Sabbath, Miles Davis, Hawkwind, George Melly and Sonny Boy Williamson. For the audience, eagerly nostalgic for such eclectic roots, it felt like a revival, but without any sermons.

Early in the set Sony Boy Williamson’s Don’t Start Me to Talkin’ focused on rumour mills, setting a defiant tone. Next came Howlin’ Wolf’s How Many More Years, exploring betrayal through Stuart’s wailing harmonica and Matt’s searing strings. Jimmy Reed’s Bright Lights, Big City followed, jokingly nodding to Watlington’s allure as a place for urban temptations, its groove pulling in the crowd.

Muddy Waters’ Whiskey Blues plunged deeper, evoking solitude and remorse through Derek’s steady pulse and Jason’s nuanced beats, portraying vice as a treacherous companion.

Midway, Big Joe Turner’s Roll ’Em Pete ignited boogie-woogie fire, with spontaneous jams that highlighted the band’s improvisational flair. Robert Johnson’s mythic Crossroads stirred whispers of infernal pacts, yet Reverend Daniel’s light-hearted assurance — “I can deal with it” — dispelled any unease, blending his humour with the tune’s haunting history.

Bill Withers’ Use Me showed intricate rhythms, Matt’s licks dancing over layered percussion, while Hamburn Willie Newbern’s Roll and Tumble Blues touched on relationship woes, its Delta essence raw and reflective.

Throughout, themes of hardship, love’s fractures, resilience amid oppression and melancholic joy permeated with an authentic edge.

Stuart’s expressive delivery, Matt’s melodic bursts, Derek’s anchoring and Jason’s dynamic drive created trance-like moments, fresh yet firmly planted in tradition. The church acoustics amplified every mournful note, turning “devil’s music” into something almost divine, without any need for spiritual intervention.

In this charming sanctuary, they uplifted and unsettled, no holy water needed.

Anthony Weightman