JOOLS HOLLAND & HIS RHYTHM & BLUES ORCHESTRA // YORK BARBICAN
Jools Holland Turns York Into a Rhythm & Blues House Party
⭐⭐⭐⭐⭐(5/5)
Jools Holland @ York Barbican. Photocredit John Hayhurst
Backed by his ever-swinging Rhythm & Blues Orchestra, Jools Holland brings warmth, wit and wall-to-wall musicianship to a hometown-feeling blowout, powered by guest turns that steal hearts and shake hips.
Jools Holland doesn’t play York Barbican like it’s just another stop on his tour. He plays it like he’s popping round a favourite local, the sort of place where the staff know your name and the piano’s already been warmed up. From the moment he bounds onstage, grinning and already mid-chat, this feels like an annual gathering that just happens to feature one of the tightest big bands in the country.
The Rhythm & Blues Orchestra sprawls across the full width of the stage, horns gleaming, rhythm section locked in, backing singers poised. The structure mirrors Holland’s Hootenanny empire: a rolling revue where songs slide into introductions, introductions into solos, solos into stories. There’s momentum without rush, confidence without flashiness. After more than 25 years of this setup, Holland knows exactly how to keep the wheels turning.
Early on, he makes a point of reminding the crowd why he keeps coming back. He loves York, loves wandering the streets like the Shambles, loves this room even though “there are bigger venues in bigger cities.” It’s not empty patter. The audience responds like hosts welcoming a regular, and the band plays with the ease of people who know they’re appreciated.
The set unfolds like a carefully paced mixtape. Swing gives way to jump blues, R&B slides into soul, even ‘Baroque and Roll’ with Holland constantly shining the light on his players. Each solo is greeted with a flourish and a beaming introduction, names reeled off like relatives at a wedding. Trumpets bark, saxophones purr, the rhythm section swings with muscle and grace. This is a collective built on generosity and friendship, incredible musicianship, and it shows constantly throughout the night. That feel good vibe is perfect for a show close to Christmas and it really warms your soul.
Midway through, the mood briefly softens as Holland pauses to remember Gilson Lavis, his longtime drummer and musical partner, who retired and then sadly passed away recently. It’s handled with tenderness rather than heaviness, a moment of reflection that deepens the sense of history onstage. When the new drummer Ed Richardson kicks back in with an impressive drum solo, it feels like carrying someone forward rather than leaving them behind.
The guest singers each colour the night differently. Sumudu Jayatilaka brings sparkle and snap, Louise Marshall warmth and control. Imelda May delivers the emotional high point for me. Favourite ‘Black Tears’ lands with quiet force, her voice smoky and precise, the orchestra restrained enough to let the song breathe. For a few minutes, the Barbican feels hushed, hanging on every syllable. It’s followed by a beautifully judged take on Billie Holiday’s ‘Now or Never’, a reminder that May can move effortlessly between raw intimacy and classic poise.
Ruby Turner, though, is pure authority. When she launches into ‘Flip Flop & Fly’, the room reacts instantly: people on their feet, dancing in the aisles, grinning at strangers. Turner doesn’t ask for attention; she simply commands it, and York happily complies. She’s the queen of this particular court, and everyone knows it.
As the night builds towards its close, ‘Enjoy Yourself’ emerges as the communal peak during the encore. The old Tommy Dorsey number’s message — “it’s later than you think” — cuts through with surprising clarity. Sung en masse, it becomes both celebration and gentle warning, a reminder to squeeze every drop out of the moment while you can. Hands clap, voices rise, the orchestra swings hard.
By the final notes, it’s clear why this annual visit matters. Holland’s show isn’t about nostalgia or prestige; it’s about shared communal joy, a rarity in these current times, and about treating music as something living and social. And as the crowd spills out, buzzing and smiling from another incredible night, you know they have already pencilled in the date for next year.
Words and Photos - John Hayhurst
