Robin Trower didn’t roll into Royal Oak Tuesday looking for a standing ovation just for showing up. He came to do what he’s always done—plug in and let it rip. At 80 years young and over five decades of blood, sweat and distortion behind him, he showed the packed Royal Oak Music Theater exactly why his name still hits hard in the blues-rock world.
After scrapping his 2024 tour for surgery, Trower hit the Royal Oak Music Theatre stage without an ounce of ceremony—just his new Fender Signature Stratocaster slung over his shoulder and that same ageless tone dialed in that he is reknown for. The crowd, a mix of longtime diehards in faded Bridge of Sighs shirts and younger guitar heads trying to keep up, knew exactly what was on the docket: pure, unfiltered guitar wizardry from a master shredder and a lesson in how less can still hit like a freight train.
Opening with “The Razor’s Edge,” Trower didn’t waste time easing in. His sound was huge—heavy on the low end, soaked in vibrato, and saturated with the kind of slow-burn distortion that’s more about feel than flash. His Uni-Vibe pedal and Marshall stack did their job, but it’s the man’s well worn hands that shape that sound. His phrasing is still surgical. Every bend meant something. Every pause had weight.
“Too Rolling Stoned” came early, shuffled into the second slot instead of its usual opener role, which only added to its punch. “Day of the Eagle” fed directly into the night’s gut-punch centerpiece—“Bridge of Sighs.” The crowd didn’t just cheer—they locked in. That’s the moment where Trower pulled the over-flowing venue into his orbit and didn’t let go.
The rest of the set leaned heavy on the old guard, and no one was complaining. Cuts like “Daydream,” “Little Bit of Sympathy,” and “Somebody Calling” hit just as hard as they did when Trower was headlining massive arenas in the ’70s. His newer material—“Wither on the Vine” and “One Go Round” from the the recently released Come and Find Me—didn’t feel like filler. They fit right in. Same tone, same grit, with just few more miles on the engine
Richard Watts handled vocals with confidence. His voice matched the material—gravelly enough to cut through but not so slick it smoothed out the edges. He’s no James Dewar, but he doesn’t have to be. Trower’s always made sure the voice serves the guitar, not the other way around. Drummer Chris Taggart was locked in tight and didn’t get in the way, which is all Trower really needs from a rhythm section.
And what about Trower? He barely spoke. A few “thank yous,” and that was it. No banter, no rock star shtick. Just a man, his guitar, and a stack of songs that have outlived most of his peers. It was raw, honest, and locked in from start to finish. No breaks. No filler. No self-congratulation.
The encore? “Birdsong.” Slow, heavy, unflinching. Trower could’ve coasted the night out on a hit or played something flashy to close. Instead, he went deep and ended it on his terms—quiet, focused, deadly precise.
If you were wondering whether time or the recent surgery dulled his edge, the answer is no. Trower still plays like it’s the only thing that matters, like the stage is where he does his best thinking. He doesn’t play at the crowd. He draws them in and dares them to listen harder.
There’s a reason Trower’s tone is still talked about in the same breath as Gilmour, Santana, and Hendrix. He didn’t reinvent himself. He didn’t have to. He refined what he already had—an unmistakable voice on guitar and a feel that doesn’t let go.For all the endless noodling and YouTube guitar theatrics out there, Trower proves that touch, space, and conviction still matter more than speed. And despite the years, and all the setbacks endured, he’s still got all three in spades.
Tuesday night’s 14-song set at the Royal Oak Music Theatre wasn’t a farewell, and it damn sure wasn’t some dusty greatest-hits cash grab. It was a seasoned pro doing what he’s always done—plugging in, locking in, and letting the guitar speak louder than words ever could. No gloss. No sentiment. Just grit, atmosphere and a remarkable tone dialed in with surgical precision. This wasn’t about legacy—it was about presence. And if you’re wondering how legends are made, this was it, live and loud.
There are still a few dates left on this U.S. run before a well deserved vacation.If you’re even remotely into guitar-driven music, get a ticket. This isn’t a legacy act. It’s Robin Trower, still proving the point he made 50 years ago: blues rock doesn’t need to be loud to hit hard—it just needs to be real.
Setlist:
1-The Razor’s Edge
2-Too Rolling Stoned
3-Wither On the Vine
4-Somebody Calling
5-Distant Places of the Heart
6-One Go Round
7-It’s Too Late –
8-Day of the Eagle
9-Bridge of Sighs
10-No More Worlds to Conquer
11-Daydream
12-A Little Bit of Symphony
Encore:
13- Would Lose My Mind
14-Birdsong
Robin Trower
Royal Oak Music Theater