Ronnie Scotts: review from ‘Prog’ magazine

August 2016

Rather incongruously, there’s a review by Malcolm Dome of the Ronnie Scott’s gig in the October 2016 edition of ‘Prog’ magazine.

The full online version is ‘subscription only’, but the intro is free. They liked it the show.

There’s a joyous whiff of balance in the band’s performance here. The members obviously take what they do very seriously, but they have a self‑deprecating humour too. When the three vocalists – yes, three – stride onstage during Third Time Around, they all have on pink feather boas. It’s a hilariously simple prop that’s augmented by some wonderfully incongruous choreography. But this is never allowed to upstage the fact that the trio – as well as keyboard player Tony O’Malley – have spectacular voices.

Read the full review




Reviews: Royal Festival Hall, with The Average White Band

November 2015

AWB_KOKOMO_website_header_920x550_920_550shar-20_s_c1[1]The mood was laid with a first set from Kokomo – their neat instrumental work leaving space for three singers to dance, enjoy themselves and whip up the crowd.London Jazz News

..the more rarely heard Kokomo fielded more of the original line-up, including guitarists Jim Mullen and Neil Hubbard, Tony O’Malley on keyboards and vocalists Paddy McHugh and Frank CollinsThe Herald, Scotland

The band had only 45 minutes but certainly made the most of it with a fantastic set…. . Frank Collins took in the role of MC with passion and enthusiasm pulling the crowd from their slumber (not always easy in a completely seated venue) and making sure a splendid time was had by all.” Louder Than War

Farncombe Music Club

November 2015

SurreyAdvertiserReviewFive stars 

“Soul legends Kokomo gave a stunning performance, playing a double set of many classic tracks

“… the larger than life Tony O’Malley, who can get more funk out of an electric piano than seems reasonable”

Surrey Advertiser

Half Moon, Putney

August 2014

HalfMoonSetlistHalfMoonABoardhalf_moon_sold_outA Kokomo reunion would always have been high on the wants list of anyone who saw them in their 1970s heyday, when they were consistently the hottest live experience London’s small venues had to offer. This summer it turned into reality, and last night their short tour reached the Half Moon in Putney: just the sort of intimate, informal joint they once rocked, and which they can still sell out with ease.”

Two hours didn’t seem nearly enough for all the catching up they and we have to do.”

Richard Williams,

100 Club August 2014

August 2014

Seeing the mighty Kokomo, blue-eyed British soul survivors, splendidly flexing their funk at the 100 Club, after a gap of a mere thirty eight years since they last appeared there, was a real joy. Only the cream of British funk could bring off a reunion like this so successfully. Here’s hoping for a reunion of the reunion.” – Geoff Winston, London Jazz news

Thanks to Neil Holmes for the photos

To Be Cool album review, Los Angeles Daily News

November 2004

KOKOMO: “To Be Cool” (Hux import)

tobecool_smallStanding in front of this ’70s Brit-soul revue at North London clubs like the Hope & Anchor and Dingwalls was the most exquisite place on earth. Consisting of the U.K.’s top rock and r&b studio players (bassist Alan Spenner and guitarist Neil Hubbard had played Woodstock with Joe Cocker; saxophonist Mel Collins was out of King Crimson; percussionist Jody Linscott would tour with the Who and Dido; Jim Mullen today is Britain’s top jazz guitarist), the 10-piece ensemble knocked out American soul music thoroughly marinated in draught Guinness, patchouli oil and five varieties of hashish.

Despite three fine albums for Columbia, the 10-track “To Be Cool,” taped at the band’s rehearsal room in ’74 and miraculously just discovered and released, truly captures the band’s feel, wit and casual brilliance. Plucking obscure gems from albums by Joe Tex, Allen Toussaint and Funk Inc., Kokomo opened gigs with a jaw-dropping 10-minute reading of Herbie Hancock’s “Chameleon,” before the group’s three singers arrived on stage. That instrumental, in which Mullen illustrates the proper use of a Fender Telecaster, is a standout here, along with the late Spenner’s tour de force reading of Bob Dylan’s “New Morning” and Tex’s “Mother’s Prayer.” Sweet, sweet sounds.

Fred Shuster – Los Angeles Daily News