Colin James built his name on blues-rock, then launched the horn-driven Little Big Band to explore jump-blues, swing, and boogie.

A swing detour with teeth

This run leans back into that project after years focused on straight blues, so expect brisk tempos, punchy horns, and tight charts. Likely picks include Flip, Flop and Fly, Jumpin' from Six to Six, Cadillac Baby, and a swing-redressed Just Came Back.

Who shows up and what they notice

You will see dancers catching small swing steps near the aisles, guitar diehards watching amp settings, and jazz heads nodding when the bari sax locks the bottom. Trivia time: as a teen, Colin James got an early shot opening for Stevie Ray Vaughan, and early Little Big Band sessions leaned on veteran horn players captured largely live in the room. Another small note is that he often swaps to a hollowbody for the jump tunes so the guitar sits under the brass instead of on top. For clarity, these set and sound details are educated projections from prior LBB shows and may shift from city to city.

The Colin James Crowd, Up Close

The scene leans vintage without costume, where you might spot two-tone shoes, cuffed denim, floral dresses, and a lot of felt hats. Plenty of fans simply arrive in band tees and jeans, but many still clap on two and four and leave space for small dance circles if the floor allows.

Clothes, cues, and small-step dance pockets

Merch runs to retro fonts, glossy show posters, and vinyl reissues of the Little Big Band records that sell fast at the table.

Shared rituals, not scripts

There is a friendly call-and-response culture, with quick shouts of yeah on turnarounds and a chorus-wide echo on the punch lines of Flip, Flop and Fly. Between songs, folks compare horn solos from past tours, trade notes on which guitarist he brought this time, and place quiet bets on whether Just Came Back appears in swing dress. It feels like a meet-up of dancers, blues lifers, and curious first-timers who appreciate a tight groove and a short, honest solo.

How Colin James Makes It Jump

Colin James sings in a clear, slightly grainy baritone, phrasing behind the beat on shuffles and snapping right on top for the faster jump numbers.

Horns talk, guitar replies

The arrangements leave space for horn riffs to answer the vocal lines, then hand the spotlight to tenor or trumpet for compact, story-like solos. Guitar tone stays clean and percussive, with quick palm mutes and short, bright stabs that frame the horns rather than compete.

Pace, tone, and the jump feel

A neat under-the-hood detail is that he often tunes a half-step down, which fattens the chords and makes the keys friendlier for brass. Tempos pivot between medium shuffle, breakneck boogie, and a few half-time drops where he stretches a chorus with bluesy bends. The rhythm team keeps it springy, with the drummer switching from brushes to sticks mid-set and the bass laying a thumpy line that hints at upright. Lights usually warm to amber and teal, giving the brass a glow while the band rides tight stops and shout choruses to crisp finales.

Kindred Grooves for Colin James Fans

Fans of Brian Setzer will feel at home with the same jump-blues drive, hot horn punches, and guitar-forward swagger. Big Bad Voodoo Daddy bring polished neo-swing energy and crowd-friendly call-and-response that mirrors the Little Big Band mood.

Kindred jump, shared swing DNA

If you chase deep horn traditions, Roomful of Blues offer that fat section sound and walking grooves that echo these arrangements.

Why this cross-pollinates live

For guitar lineage, Jimmie Vaughan shares the Texas shuffle touch and economical phrasing that Colin James admires. All four acts reward clean time, sharp dynamics, and a sense of show that never buries the song. If those traits hit your ear right, this bill will likely click.