SMITH/KOTZEN // THE 1865, SOUTHAMPTON
ICONIC GUITARISTS PROVIDE A MASTERCLASS IN GUITAR-PLAYING
⭐⭐⭐⭐⭐(5/5)
SMITH KOTZEN AT THE 1865, SOUTHAMPTON
PHOTOCREDIT: CHARIS LYDIA BAGIOKI
If your idea of a perfect evening involves fretboard sorcery, zero backing tracks and attending a masterclass in guitar playing from two men who absolutely know they’re good at this, Smith/Kotzen in Southampton is for you. Supported by Kris Barras, the night leaned hard into blues-drenched hard rock, served neat. No gimmicks, no pyro, no fanfair; just musicianship sharp enough for people to need bandages.
It’s worth pausing to appreciate who is on that stage, because this isn’t a side project assembled for fun. It is a clash of titans - a match made in heaven with two very different but very serious musical histories. Adrian Smith (the first half of Smith/Kotzen) is best known as one-third of Iron Maiden’s legendary guitar attack, responsibile for some of heavy metal’s most recognisable melodies; think ‘2 Minutes to Midnight’, ‘Flight of Icarus’, ‘Moonchild’, ‘Stranger in a Strangeland’ and ‘Wasted Years’ to name just a few. Beyond Maiden, Smith has always carried a deep love of classic rock and blues, something he has explored extensively in his solo work and projects like ASAP. His playing has never been about speed for speed’s sake or about theatrics, but about melody, restraint and knowing exactly when not to play. The other half of the band is Richie Kotzen, who might as well be a musical Swiss Army knife. A former prodigy who cut his teeth in shredding, Kotzen has built his career in a multitude of genres like funk, soul, hard rock and fusion. From stints in Poison, Mr. Big and The Windery Dogs to a prolific solo catalogue, Kotzen is the rare guitarist who can outplay most people in the room without lifting a single finger (pun intended here). Together, Smith and Kotzen bring about 85 years’ worth of guitar-playing excellence, and by bringing architecture and fire respectively, they create the perfect recipe for Smith/Kotzen.
First up on stage however are Kris Barras Band, bringing blues with biceps into the mix. Barras opened the evening with the sort of muscular blues-rock that makes you reconsider whether you’ve been playing airguitar incorrectly all your life. His tone is thick, warm and classic, bringing influences from hard rock, blues and a Survivor-kind of feeling. The crowd was initially reserved, but as the setlist progressed, the venue quickly warmed up. By the time ‘Hail Mary’ came on, we didn’t just have sing-alongs, we had the audience being louder than the band and shouting back the lyrics. Barras’ vocal grit and warm riffs were a perfect opening to the night, and the crowd’s nodding going into singalongs gave all the approval the band needed to end the set on a high.
When Smith and Kotzen finally took the stage, the reception was less hysteria and more ecclesiastical awe. This gig was not about spectacle, but about chemistry, harmony and maybe a bit of swagger. From the first harmonised lead line, it was obvious that the two guitar-heroes were not trading licks but finishing each other’s sentences. Smith brought melodic precision whilst Kotzen brought fluid and almost reckless soulfulness. The setlist pulled confidently from both Smith/Kotzen albums, leaning into the groove-heavy numbers like ‘Black Light’, ‘Taking my Chances’ and ‘Scars’. Meanwhile, track like ‘Blindsided’, ‘Darkside’ and ‘Running’ brought equal amounts of reverence and momentum to remind everyone that restraint is only impressive when you can break it on command.
And then there were the solos. Both Smith and Kotzen have played stadiums and had their shredding echo across thousands of people. But in a more intimate venue like The 1865, they did not bring ego into their playing. The solos were structured, purposeful, like a cathedral of taps and liquid movement. Kotzen’s leads were effortlessly performed with enough danger to add a bit of spice in the songs, whilst Smith’s were more composed and soulful. Each solo complemented the other, and it felt like bringing an engineer and a poet to create something - which surprisingly worked quite well. Complemented by clean lighting, a crisp sound mix and enough bass and drums to enhance the performance, there was no overproduction, just straightforward performance and sheer talent.
On top of all the above, the rhythm section of the songs deserves its own credit too, because it provided a solid foundation for building the guitar solos on. That section was also when the crowd came more to life. There was no chaotic pit or crowdsurfing tonight. It was a room full of people (whether that was players, purists or long-time devotees) who nodded in approval, swayed their bodies to the rhythm and had the look that shows pure awe, admiration and appreciation for the slick runs of each song. Applause at the end of each track was not loud, it was confirmation that Smith and Kotzen need no stadium to enchant their audience. They just need their guitars and it is like a magic spell is cast. There was definitely a unique energy in that show that was not there for nostalgia, but for craft and for mastering it.
Smith/Kotzen delivered exactly what they promised: no filler and frills, just elite musicianship, talent and chemistry that can leave you buzzing. Even though they left out a couple of songs on the setlist (yes, I peeked ‘Wasted Years’ and it did not happen), they still had the room laser-focused, and the musicians around me questioned their own competence on the walk home. And honestly? That’s the highest compliment you can give.
REVIEW + PHOTOS BY: CHARIS LYDIA BAGIOKI
