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David John As The Famous Rod Stewart Tribute

David John is Rod Steward Tribute Ideal For

Hotels in the UK or abroad, Hotels, Pubs, Clubs, Private Functions, Parties and many more


The Voice, The Songs, The Look, The Costumes, The Moves, The Mannerisms, when it comes to “Rod Stewart Tributes” they don’t come any more authentic than “David John” A full show packed with Rod Stewart songs stretching back to 1969 and the classic “Handbags & Gladrags” to songs from the 2018 album “Blood Red Roses”.

Rod Stewart Tribute will give you a fantastic nights entertainment, David John will have you singing, dancing, clapping, cheering, laughing & crying all in the same night as he takes you on an amazing musical journey covering over 5 decades of incredible songs from the legend that is “Sir Rod Stewart” David John’s ability to connect with his audience has to be seen.

David As Rod Stewart Tribute… What people have to say

David is just the most down to earth person you could meet, always got time to chat and have photographs before, during and after his show, a true professional. This first class “Rod Stewart Tribute Show” is in great demand both in Spain and in the UK.

The show is available for all venues and events.

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M8 Entertainments provide Tribute Bands as well https://m8entertainments.com/category/popular-music-bands/tribute-bands/

Sir Rod Stewart

ROD STEWART BIO

https://www.rodstewart.com/about/

“Rarely has a singer had as full and unique a talent as Rod Stewart — awriter who offered profound lyricism and fabulous self-deprecating humor,teller of tall tales and honest heartbreaker, he had an unmatched eye forthe tiny details around which lives turn, shatter, and reform — and avoice to make those details indelible. His solo albums were defined by twospecial qualities: warmth, which was redemptive, and modesty, which wasliberating. If ever any rocker chose the role of everyman and lived up toit, it was Rod Stewart.”  The Rolling Stone Illustrated History of Rock & Roll (1980)

Typical. You wait decades for a brand new Rod Stewart song to show up, and eleven come along all at once.

The world knows Stewart to be a man of many facets: the fully paid-up, card-carrying rock star; the father of eight; the full-time curator of one of history’s most famous haircuts; the tireless Celtic fan; the extremely handy soccer player and provider, even now, of a devilishly in-swinging corner from the left-hand side.

The world also knows Stewart to be a songwriter – though not so much in recent years. True, in this area, Stewart has already logged more than his share of keepers – songs that will be around for as long as people listen to pop music. He is the lyricist and melodist behind such staples as ‘Tonight’s The Night’, ‘You Wear It Well’, ‘You’re In My Heart’, ‘The Killing of Georgie’ and the indelible ‘Maggie May’ – all of them miniature masterpieces of story-telling.

Yet somewhere along the way, the source of those lyrical yet direct and instantly nerve-touching narratives appeared to dry up. To the point, even, where, at the beginning of this century, Stewart could look back at his own catalogue from a bemused and baffled distance. As he put it, ‘It was almost as if a person I didn’t know used to write those songs.’

The craft of songwriting lured Stewart from the beginning. As a young teenager, charged with minding his father’s London newspaper shop, Stewart would put up the ‘Closed’ sign, so as not to be disturbed, and sit out the back with an acoustic guitar, attempting to decode and master every track on the first Bob Dylan album.

Yet, in the mid-Sixties, in the small, hot British blues clubs in which Stewart did his formal vocalist’s apprenticeship, first as a member of Long John Baldry’s Hoochie Coochie Men, and then in the group Steampacket, it wasn’t about writing your own songs. It was about wringing every drop of soul out of Ray Charles’s ‘The Night Time Is The Right Time’ while simultaneously wearing a sharp suit and keeping a carefully up-combed bouffant in perfect working order. The songwriting ambitions took a back seat.

Even the highly influential Jeff Beck Group, in which Stewart sang between 1967 and 1969, was largely a covers outfit. It’s a plausible argument, nevertheless, that, but for that lack of homegrown material, the Jeff Beck Group (who entirely blazed the trail for heavy rock as we know it) would have been Led Zeppelin before Led Zeppelin.

But then, perhaps, we wouldn’t have had The Faces, Stewart’s next outfit, whose liberal attitude to refreshment in the workplace and whose highly imaginative approach to the reconstruction of hotel rooms set the benchmark for rock’n’roll roistering from the 1970s onwards. It was for The Faces that Stewart, getting into his stride as a writer, came up with the eternal ‘Mandolin Wind’ and the band also saw the flowering of his collaboration with his former Jeff Beck Group cohort and lifetime pal Ronnie Wood.

The pair started out unpromisingly, settling down one day in the tiny sitting room of Wood’s mum’s house in west London, armed only with a pad of blank paper and a cheap bottle of wine. The paper remained blank long after the bottle was empty. But the partnership would eventually yield, among others, ‘Stay With Me’, ‘Miss Judy’s Farm’, ‘Every Picture Tells A Story’, ‘Gasoline Alley’, ‘Cindy Incidentally’ (with Ian McLagan) and ‘Had Me A Real Good Time’ (with Ronnie Lane).

Meanwhile Stewart’s solo star had begin its vertiginous rise, substantially propelled by his own writings – a trail of international smash hits across two and half decades, from the era-defining ‘Da Ya Think I’m Sexy’, via ‘Infatuation’, ‘Baby Jane’ and ‘Hot Legs’, to the anthemic and ubiquitous ‘Forever Young’.

After which, somewhat abruptly, the muse abandoned him.

Stewart contributed the title track to the album ‘When We Were The New Boys’ in 1998, and (not for the want of trying) nothing thereafter, and was soon obliged to conclude that he was in the grip of a terminal case of writer’s block.

As he tells it, with characteristic self-effacement, “My assumption was that I was finished as a songwriter. It had always been difficult, and then, at some point in the 1990s, my confidence took a knock and it became impossible. I was thinking too hard about what people expected from me. And I was thinking about whether I felt comfortable any more, delivering whatever it was people expected from me… I was trapped down all sorts of unhelpful mental alleys, basically. And eventually I convinced myself that I had made the best of the little bit of talent for songwriting that I had been given. But now it was over – time to move on.”

Not that this left him idle, of course. There were plenty of other songs around. And Stewart always had the uncanny gift to inhabit anything he put his voice to. This, after all, is a man who can sing ‘Happy Birthday To You’ and make it sound like the number was written especially for him. He spent the first decade of the new century cutting his own path through the Great American Songbook, realizing a long-held ambition to put perhaps popular music’s least boundary-hindered voice to the classic ballads and swing tunes he heard glowing from the radiogram in his childhood London home. At an age when most of his peers were just happy to be hanging on in there, Stewart sold more records than in any other decade of his career.

And then, when least expected, the muse returned. One weekend, at home in Epping, England, Stewart’s old friend, the guitarist Jim Cregan, proposed a casual writing session. The host’s reaction wasn’t exactly eager. “To be perfectly frank,” Stewart says, “I was rather looking forward to a Sunday afternoon post-lunch snooze.”

Still, Cregan strummed and Stewart hummed and la’d. Nothing was concluded. A couple of days later, though, Cregan sent Stewart a recording of their efforts, slightly smartened up. Says Stewart, “And I played it, and the title Brighton Beach’ dropped into my head – from nowhere, as titles always used to and for no reason I could put my finger on. And right then I started writing a lyric: about taking the train down to the south coast of England as a young, beatnik kid with an acoustic guitar, and sleeping on the beach and falling in love and the sheer romance of that time.”

“And very quickly – much quicker than I was used to – I found myself with a finished song.”

This happened to be a period in which Stewart was working on what would become his internationally best-selling autobiography, ‘Rod’, published in October 2012. “Something about that process of reviewing my life for the book reconnected me,” he says. “And that was it: I was away. Suddenly ideas for lyrics were piling up in my head. Next thing I knew, I had a song called ‘It’s Over’, about divorce and separation. And now I was getting up in the middle of the night and scrambling for a pen to write things down, which has never happened to me. I finished seven or eight songs very quickly and I still wasn’t done and it became apparent that I would eventually have a whole album of material to record, which had never happened before. It’s tended to be four or five songs per album at most.”

On “Another Country” recordings, that rekindled energy is audible straight away in the mandolin-spangled, fiddle-flecked, guitar-driven burst of optimism of the album’s opener, ‘She Makes Me Happy’. And it’s there again in the skirling bagpipes and huge tune of the fist-pumping ‘Can’t Stop Me Now’, which channels memories of Stewart’s early days in search of a break before opening out into a fervent letter of gratitude to the singer’s father for his unceasing belief.

And because it wouldn’t be a proper Rod Stewart album without a cover version, this collection also includes a beautifully understated reading of ‘Picture In A Frame’, extending Stewart’s distinguished line of Tom Waits interpretations (‘Downtown Train, ‘Tom Traubert’s Blues’).

Of the overdue return of his muse, Stewart says,

“It was clean out of the blue. Something clicked and I realized I had things to write about again and things I wanted to sing about. A whole life’s worth of topics, in fact.”

With a global tour to follow through the year, this is Rod Stewart, 2013 version: still singing, still reaching people, still on a mission to go down in the record books as the world’s oldest practicing soccer player. And once again, most definitely, a songwriter.

Performance Fee

Please Call 07515789837 Agency Fees Do Not Apply

Location

North West, North East, Midlands, East Midlands, West Midlands, South, South East, South West, Wales

David John is Rod Steward Tribute Ideal For

Hotels in the UK or abroad, Hotels, Pubs, Clubs, Private Functions, Parties and many more

Customer Name

Sally

Review

We saw David on our holiday in Spain what a great night we had, he had us up and dancing all night, and the children had their photos taken with him and my mum, which made her holiday. Thanks for making our holiday super special
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