Jason Bonham, the son of arguably the greatest rock drummer of all-time – Led Zeppelin’s John Bonham, made a welcome return back to Nu Tireni, playing two evenings ago in the capital, and kicking out the jams at Auckland’s Aotea Centre last night. The occasion? A unique one in fact – the 50th Anniversary of the Led Zeppelin double-wax classic Physical Graffiti (1975).
With the preamble from Bonham that this show would contain the performance of Physical Graffiti played in its entirety – conceptually this one was designed for aficionados. But for Led Zep fans, connoisseurs of their music are found in abundance. And doubly, Led Zep were an album band after all.
Describing playing drums for Zeppelin for the one-off 2007 reunion concert Celebration Day as – “the greatest day of my life”, Bonham Jnr has carried the mantle of his father’s legacy in his heart and with honour ever since.
With the stage dressed in complete black, the JBLZE band swaggered out, looking the part and ready to sling some R’N’R. After tearing into the James Brown inspired Custard Pie and The Rover as per the album running order, Bonham teased; “we’ve rearranged the running order to trick anyone wanting to shoot off for a beer.” Highlighting that they’ve made it to NZ three times in ten years, to Zeppelin’s once, Bonham expressed the music performed this evening as – “all about the love you have of my father.”
Standing out like a sore thumb on stage was gun Japanese guitarist Jimmy Sakurai, who resembles Jimmy Page uncannily – in appearance, playing-style, and bang on quirky mannerisms. Sukurai switched to a yin-yan stylized Danelectro guitar for In My Time Of Dying.
Embellishing further on the background of the record, JB talked about Physical Graffiti being built from previous outtake material off earlier albums – “hence Houses Of The Holy being on here and not its namesake.” There’s also a looseness at play, with blemishes left in in places – a cough and a laugh about it, an aeroplane flying by (Black Country Woman), pre and post song dialogue, etc.
While adding some of his own flavour, Jason stayed faithful to dad John’s integral drum parts, and maybe being a plus 24 years sober driver these days, added a rockpile more precision. “I haven’t had a drink in 25 years; trust me, it’s for the best.”
In The Light got the spiritual slam dunk, with vocalist James Dylan getting in tune, and keysman Alex Howland showing his versatility (he alternated on guitar throughout the eve).
The show pulled back a few notches to cater for PG’s acoustic output. Bron-Yr-Aur stripped down to acoustic guitars, while Boogie With Stu brought Bonham out front and onto a sampling pad to trigger Bonham snr’s percussion part. Bonham retold a session story he had with Phil Collins, playing the famous fill from In The Air Tonight in front of Collins without permission. Hugs ensued in the end.
Introducing Ten Years Gone, Bonham announced – “my dad’s been gone 46 years … but he never really left us.” Now we were getting into the meat and potatoes, this being a Zep live staple – and you could really hear the influence they had on the the likes of Jeff Buckley.
Bonham by now was giving his silver Ludwig kit a good going over, centred by dad John on the front kick drum head (artwork designed by lead singer James Dylan). Trampled Under Foot had the band working overtime, rocking stupidly, with bassist Dorian Heartsong laying down serious train-tracks.
Warning that he could not tell all the Led Zep tales for fear of getting cancelled, Bonham unearthed the truth on the Samurai sword hotel wrecking story. It turns out John Paul Jones sliced and smashed up the room himself and never owned up to it. Bonham heavily enebreated and fast asleep during all the carnage, happily took the responsibility for it all in the morning. The bill was hefty.
With John Bonham receiving song-writing credits in Zeppelin, and often singing his drum parts to Page, a resulting collab was the eastern flavoured Kashmir. With its lights out pauses and punctuations, Kashmir is as archetypal and iconic as Led Zep gets – they played it at every live show since its release.
An encore hilariously required us to sing a few lines of Country Roads at an acceptable level – which we managed. Then those sacred words from Bonham; “album one, track one.” Good Times, Bad Times was where it all began, and issued an alert to the world that John Bonham was a drumming force of nature.
Whole Lotta Love gave nods to Moby Dick in the mid, and psychedelia throughout. And the finale – Rock and Roll, let Bonham pay homage with one of the best and most succinct drum solos of all-time.
For sure this was one of the more rockier sets to be played at Kiri Te Kanawa Theatre – Jason Bonham and his clan did themselves and the legacy of Led Zep proud. For this drumming and music, Jason Bonham is the number one man on the planet for the job. It’s in the essence- take a bow Jase!
Mike Beck
Photography by Greg Haver
Setlist
Custard Pie
The Rover
The Wanton Song
In My Time Of Dying
Houses Of The Holy
In The Light
Sick Again
Bron-Yr-Aur
Boogie With Stu
Black Country Woman
Down By The Seaside
Night Flight
Ten Years Gone
Trampled Under Foot
Kashmir
Encore
Good Times, Bad Times
Whole Lotta Love
Rock and Roll
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