South East London piano firebrand and bandleader, once a founding member of Squeeze, built this orchestra around jump blues, swing, and boogie.
Piano roots, TV chops
The sound leans on rolling left hand patterns, tight horns, and rotating star turns from
Ruby Turner and
Louise Marshall.
Expect a brisk opener, then a glide into classics like
Let the Good Times Roll, his own
Valentine Moon, and crowd drivers such as
What'd I Say.
Standards with a smile
The encore often lands on
Enjoy Yourself (It's Later Than You Think), with the whole band singing and trading lines.
You will see multi-generational fans in sharp jackets and vintage dresses, a few pockets of dancing near the aisles, and a lot of focused listening between solos.
Many do not realize his famous Hootenanny broadcast is taped days before New Year rather than at midnight, which always sparks friendly debate in the lobby.
Longtime drummer
Gilson Lavis is also a noted portrait painter with gallery shows, a fun left-field link to the band’s visual flair.
Heads up: the songs and production touches I mention are educated guesses based on recent shows, not a confirmed script.
The Jools Holland and His Rhythm and Blues Orchestra Social Hour
Dress sharp, move easy
The scene leans smart-casual with vintage flashes, from polka dot dresses and brogues to piano-key ties and tidy blazers.
Early in the night small dance circles pop up near the aisles, and many people clap on the backbeat like they learned it at a pub gig.
When
Enjoy Yourself (It's Later Than You Think) arrives, the chorus turns into a tuneful singalong, with the band dropping instruments to let the crowd carry it.
Merch runs to classic tour posters, program books you can actually read, and a few vinyl pressings that suit the big-band sound.
Between sets, fans trade memories of Hootenanny tapings and swap favorite guest spots from years past.
There is a gentle code of respect here: quick cheers for solos, room for dancers, and smiles when the horns hit a cheeky quote.
It feels like a dressed-up night out that still leaves room for loose shoulders and a good shuffle.
How Jools Holland and His Rhythm and Blues Orchestra Make the Room Swing
Groove first, sparkle second
Everything starts with the piano, a rolling left hand laying the shuffle while crisp right hand figures cut through like brass.
Vocals rotate, with
Ruby Turner bringing church-soaked power and
Louise Marshall adding satin lines over the top.
Horn arrangements punch in short bursts, the bass walks with small slides, and the guitarist comps in tight, percussive shapes to lock the pocket.
Tempos move from mid-pace strut to sprint, but the band leaves space so each solo tells a story rather than a blur.
Lighting tends toward warm ambers and cool blues, framing the piano lid and giving the horns a silhouette that suits the swing.
A neat live habit: the bandleader often cues a last-chorus key lift with a raised hand, turning the horn line into a short 'shout' that resets the room’s energy.
Another small touch is stretching the coda of
What'd I Say into a handclap breakdown so the call and response feels like a neighborhood party.
Kindred Spirits for Jools Holland and His Rhythm and Blues Orchestra
Adjacent lanes on the same road
Fans who like vintage bite with modern polish often cross to
Imelda May, whose rockabilly-to-R&B swing and big voice hit similar joy points.
Paul Carrack draws the same crowd that values classic songcraft, steady grooves, and a band that plays for the song.
Gregory Porter appeals to those who want warm baritone storytelling over a well-drilled jazz rhythm section.
Elvis Costello overlaps through the UK lineage with sharp lyrics and, on some tours, horn-forward arrangements that swing hard.
All four acts prize clear melodies, pocket-first rhythm sections, and shows that feel curated rather than jammy.
If those traits sit right with you, this orchestra will likely feel like home too.
