Tinsley Ellis – SPACE, Evanston, April 24, 2025

Review & Photos: Jim Summaria

Tinsley Ellis at SPACE in Evanston, IL,

April 24, 2025

Review & Photos: By Jim Summaria

Famed bluesman Tinsley Ellis stopped by SPACE in Evanston, IL for his self-proclaimed "Two Guitars and a Car" tour, with just Tinsley, his car and two guitars as his passengers: a 1969 Martin D-35 acoustic and 1937 National resonator guitar.

Ellis is playing intimate venues to create a more personalized experience with the audience and his acoustic, blues-focused music. On this day, he played 19 songs across two sets. Between sets and following his performance, he delivered on his “personalized experience” by speaking with fans who happily lined up to chat with the veteran guitarist, singer and songwriter. His cordiality was on display with each fan as if he'd known them for years. The guitarist also hawked merchandise to fans eager to bring home additional memories beyond the evening’s performance.

Ellis is a natural storyteller. Between songs, he talked about his love for the blues and how it began. And like so many of his peers, British Invasion groups like the Rolling Stones, the Yardbirds and the Animals gave him his first taste of blues-centered music.

Upon hearing the song "Secret Agent Man" by Johnny Rivers, it put Tinsley on course to learn the guitar. He soon discovered his first inspiration in Freddie King. When Ellis was 15 years old, he scored front row tickets to a B.B. King concert. After B.B. broke a string on his guitar, he leaned down and handed it to the young Tinsley. He has it to this day!   

While in college, the fledgling singer/guitarist/songwriter joined his first band and soon after graduation, traveled to Chicago wanting to meet and play with his heroes. His professional career began in 1982 when he released his first album with the  band the Heartfixers featuring his friend Chicago Bob Nelson (a singer and harmonica player).

By 1988, Ellis was on his own and signed a recording contract with Alligator Records. Through the years he’s shared the stage with many legends including Stevie Ray Vaughan, Buddy Guy and Son Seals. He became friendly with the Allman Brothers Band and laughingly told the story of how Gregg Allman mistakenly called him Ellis Tinsley rather than Tinsley Ellis. Tinsley never had the heart to tell him it was the other way around.     

Ellis is currently on tour promoting his latest Alligator album Naked Truth. His “unplugged” release features Ellis on vocals and two guitars: a National steel resonator and Martin acoustic in the folk blues tradition. He wrote nine of the album’s twelve songs. Naked Truth was recently nominated by The Blues Music Awards (BMA) for Acoustic Blues Album of the year. Tonight's show featured many of them.

Ellis quietly took the stage and sat down with his Martin acoustic. Following a warm welcome from the crowd, the bluesman launched into the Muddy Waters song "I've Got To Love Somebody." His right hand fingerpicked notes while his left glided across the strings with a slide positioned on his pinkie. His gruff, soulful voice fit the song perfectly.  

Two songs from his new Naked Truth album followed. Born in Atlanta and raised in southern Florida, Ellis broke into the upbeat "Grown Ass Man" that was greeted with head bopping and laughter in response to Ellis' humorous lyrics. Still playing his trusty Martin, the musician’s authenticity as a country blues guitar player and vocalist was on full display with the song "Hoochie Mama."

For the moment, I put down my camera, closed my eyes and listened to what sounded like an old recording (minus the scratches) from a renowned Delta bluesman.     

Ellis returned to his 2002 album Devil May Care for the next three songs. "One Last Ride" was dedicated to a friend who was killed in a motorcycle accident. Still holding his Martin, his nimble fingers produced the song "28 Days" that was rhythmically similar to Jimi Hendrix's "Foxy Lady." He finished the trio of songs with the Allman Brothers influenced "Just Like Rain" -- a beautiful song sung with great emotion.

Following “Just Like Rain,” he told another Allman Brothers story. Ellis tried to conceal his laughter when reciting it to the audience. He said the Allman Brothers had two rules when performing on stage; first, no drinking while playing a gospel song, and two, no playing gospel songs!

Ellis let loose on the instrumental "Silver Mountain" which was greeted with wild applause. The Resonator finally came out and he went right into the Delta-styled "Tallahassee Blues" from his new album followed by his rendition of the Robert Johnson classic "Love in Vain." Both songs showcased his excellent slide work and had the audience enthralled. He closed out the first set with the backyard porch, foot-stomping "Devil in the Room."

The few minutes off stage put some extra energy into Ellis because he came out rocking with two oldies but goodies, "Cut You Loose" from his 1994 Storm Warning album and the danceable and funky "Pawnbroker" from his 1998 Fanning the Flames album.

One of the evening highlights for me (among many) was the slow blues tune delivered with spine tingling emotion and verve titled "A Quitter Never Wins" from the Storm Warning album. It was one of those songs that you wished would go on for twenty minutes. He was proud to let everyone know that the song was covered by Jonny Lang and John Mayall.

A New Orleans sounding "Hell or High Water" from the 2002 album of the same name closed out this set of four songs that were originally recorded on electric guitar, but Ellis transformed them quite well to the acoustic.

Ellis then played two new songs not yet recorded. A Canned Heat sounding "The Trouble With Love" and "To a Hammer, Everything's a Nail." I'd like to hear both these songs done on electric with a backing band because of their “rock” potential.

The Resonator was used to perfection on the Muddy Water's song

"I Can't Be Satisfied." Ellis' traditional slide work and vocal brought Muddy's song to life. Muddy would've approved.

He closed out the show with two songs from his Naked Truth album beginning with his own composition "Horseshoes and Hand Grenades" that had a "Sittin' On Top of the World" vibe. A rambunctious foot-stomping version of the Son House song, "Death Letter Blues" closed out the set.

Ellis rose from his chair as did the entire audience who clamored for one more. And man, they got one more in spades. The encore was "A Soldier’s Grave On The Prairie" written and performed originally by Leo Kottke. Ellis gave a masterful rendering.

Blues Music Magazine stated: "Tinsley Ellis is a powerful and commanding presence. His music is impossible not to enjoy."

Absolutely!

###

 Jim Summaria began professionally photographing rock concerts in 1973 at the age of 19 when he became the staff photographer for the Chicago rock concert promoter Flip Side Productions. Jim's photos have been published in numerous books, magazines and CDs. His rock ‘n’ roll photos have been viewed at the Rock & Roll Hall of Fame, the Illinois Rock & Roll Museum and Hall of Fame on Rt.66 and the Grammy Awards. Jim and writer Mark Plotnick co-authored the books Classic Rock: Photographs From Yesterday & Today and the October 2024 release ‘70s Chicagoland Rock Concerts.  

###