The Other Guys: A Tribute to Frankie Valli & the Four Seasons at C Venues Chambers Street brings the classic songs and sound of one of the most successful groups of all time to The Edinburgh Festival Fringe.
The Four Seasons of course had two very unique elements working for them – the unmistakable voice of Frankie Valli and the talents of Bob Guadio as not only a performer, but as one of the best songwriters of his generation and a master of four part harmony arrangements built around Frankie Valli’s vocal range.
The Other Guys are exactly what a tribute band should be, a band who stay close enough to the original band and songs that they want to pay tribute to, but never becoming trapped in the illusion that they are the original band on stage and never talking to one another as if they are. We as an audience all know that we are not coming to see the original “Four Seasons” on stage and “The Other Guys” know that too and quickly become their own identities on stage – and it works. This foursome of “The Other Guys” tonight - Joe Bishop, Nick Martland, Raymond Walsh and Dickie Wood - do a great job with the classics that you would expect to hear; they are all in this show – “Sherry”, “Walk Like A Man” “Working My Way Back To You”, “Be My Baby”, “My Eyes Adored You” and “You’re Too Good To Be True” to name a few. Also great to see the guys breaking out of the typical tribute band mould to present some non Four Seasons songs in Four Seasons four part harmonies style.
Just as important as the music though is the fact that “The Other Guys” know how to perform to an audience, have fun with the songs that they are playing and share that music and fun with their audience. These guys have put in a lot of hours on stage before audiences both in this band and other musical projects, and that ease of performing before a live audience shows all the way through this show.
A big important part of tonight’s sound too was a young but very competent backing band that were obviously in their comfort zones with this music.
Review by Tom King