Barry Steele’s Roy Orbison show is more than a tribute, it’s a heartfelt celebration of one of rock and roll’s most distinctive voices. From the moment Steele steps on stage, clad in black with Orbison’s trademark dark glasses, you’re transported into a world of emotional ballads, rockabilly rhythms, and spectacular vocal power.
Steele opens the show with one of Orbison’s signature tunes, ‘Only the Lonely’, and follows that up with ‘Uptown’ and ‘Candy Man’. He’s warmed the audience up now, so he introduces himself in a Texas-style accent that is more Dudley than Vernon, but his dry sense of humour allows him to get away with it.
The backdrop to the show is a series of projections that offer context and history for each song as it is performed. Whoever is responsible for these does need to proofread them though — “Elvis Castello,” “Jeff Lynn,” and “famouse” are not a thing.
Steele doesn’t merely impersonate Orbison, he channels him. His vocal range is remarkably close to the original, capturing the haunting falsetto and rich tone that made songs like ‘It’s Over’, ‘In Dreams’, and ‘Running Scared’ so timeless. Every note feels authentic, delivered with precision and deep respect for the material.
The show spans Orbison’s career, from his post Sun Records days through to the Traveling Wilburys and his solo comeback that was cut short by his sudden death in 1988. Much of the first half focuses on Roy Orbison’s Black and White Night, the iconic 1988 concert film that showcased Orbison’s unique vocals, backed by an all-star band of legendary musicians and filmed in black and white.
After performing ‘Crying’, Steele left the stage so his band could have their moment in the spotlight. Lead guitarist Aidan Underhill — playing only his second gig with the band — Robert Henson on bass guitar, Liam Bridgen on drums, Alan Whittam on piano, and Robert Grove on acoustic guitar and harmonica had a ball playing The Surfaris’ surf instrumental ‘Wipe Out’.
Steele returned to the stage and led the band through Orbison’s posthumous orchestral album, on which the Royal Philharmonic Orchestra provided new arrangements to archival vocals. ‘Blue Bayou’, ‘Penny Arcade’, and ‘Unchained Melody’ brought the first half of the show to an end. Steele’s stage presence had been humble and warm, mirroring Orbison’s own quiet charisma. It’s clear he has a deep affection for Orbison’s legacy, and that sincerity resonates with the audience.
The second half was as much a tribute to the artists who had worked with Orbison as to the man himself. We had the history of the Traveling Wilburys projected behind the band as they played ‘Handle with Care’, ‘Rattled’, ‘Not Alone Any More’, and ‘End of the Line;. Steele sang Chris Isaak’s ‘Blue Hotel and ‘Wicked Game’ before returning to Orbison’s final solo album, Mystery Girl, from which he sang ‘California Blue’, ‘A Love So Beautiful’, and ‘You Got It’. Covers of ‘Runaway’ and ‘Roll Over Beethoven’, sung by bassist Robert Henson, followed before ‘I Drove All Night’ and ‘Sweet Caroline’ brought the show to a close. The audience wanted an encore, so the only song left was ‘Oh, Pretty Woman’.
Fans of Orbison will be thrilled by the faithful renditions, while newcomers may walk away with a new appreciation for the man whose voice defined an era. This isn’t just a nostalgia act, Steele honours him, and in doing so, ensures his legacy will live on.
Reviewer – Adrian Cork
On – 24.07.2025
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