On the evening of July 18, 2026, “Bluesman Extraordinare,” George “Buddy” Guy took the stage at Kleinhans Music Hall in Buffalo, New York for an intimate evening of deep blues. Presented by Soul of Buffalo, the second stop on Guy’s “BG 90” tour followed a three-year hiatus during which he considered retirement, but fortunately for fans, he decided to keep on playing.

Back on tour and representing the blues in the best way he knows how, Guy continues his run across America culminating later this year in a birthday celebration at Radio City Music Hall in October. Guy continues to give everything he’s got on the stage while ably backed by the “The Damn Right Blues Band,” featuring long time guitarist Ric Hall, bassist Orlando Wright, drummer Tom Hambridge, and keyboardist Marty Sammon.

Legend isn’t large enough a term to describe Guy’s massive contributions to the blues form. From his formative collaborations with Muddy Waters, Howlin Wolf, and Junior Parker to his contemporary work with Eric Clapton, Jeff Beck and Keith Richards, Buddy Guy is the last and the best man standing.

Guy is the winner of nine Grammy Awards, the National Medal of the Arts, Kennedy Center Honors, and is a Rock and Roll Hall of Famer. But all his plaudits cannot adequately equal seeing and hearing him in a room doing what he does best, keeping the blues alive by performing for a crowd.

To witness this larger-than-life musician is an honor and a gift. Guy is as certain as the sun and his enduring influence on music is immeasurable. While no one can defeat time, Guy is wrestling it to the ground and playing it the blues like a man half his age. Throughout the evening Guy’s performance ranged from sweetly sensual to booming and boisterous and his stories always told with a toothy grin.

He transformed the venue from concert hall to juke joint with the crowd shouting encouragement and he responding in kind. Guy used all the tricks of the trade, caressing his strings on his sleeve, playing with a drumstick and rapping conversationally over dynamic vamps. His Stratocaster soared through the room, with euphonic sustain and a slicing tone that grabbed you by the collar and forced you to take note. His voice was tenderly aged and redolent.

The evening featured an expansive vista of blues influence with nods to Tampa Red, Muddy Waters, Albert King, and Willie Dixon. The concert unfolded like one long blues mantra that weaved in and out of different forms and lyrics. Guy and his band touched on 12 bar, R&B grooves, Chicago blues and Delta, Guy and his pros played it all seamlessly and with an attitude.

As he stepped onto the stage in overalls and a ballcap to the opening notes of his 1991 hit “Damn Right, I’ve Got the Blues,” Guy and his band immediately announced their presence with an explosive performance. At the songs crushing conclusion, Guy asked, “Did I play that too loud?” to the crowd’s rapturous response. It took all of five minutes of stage time to get goosebumps from Guy and his band’s opening number.

Guy continued, “I’m gonna play something so funky you can smell it,” as his band dropped like a coin into a bucket into Eddie Boyd’s “Five Long Years.”

Guy popped his strings delicately and pressed his flesh against his frets playing the most emotive riffing these ears have ever heard. The band laid back and played like a late-night creep with Guy’s guitar beginning as a whisper and concluding with a roar.

One of several highlights followed with a version of Willie Dixon’s “I’m Your Hoochie Coochie Man,” that segued into Muddy Waters “She’s Nineteen Years Old.” Guy humorously said about the lyrics mid-song, “I didn’t write these fucking songs I just sing them.” and later featured an interlude about the importance of keeping the blues alive in which he stated, “When you see a frown on somebody’s face, please try to take it off and put a smile on it.”

Freddy King’s “Goin Down,” was stunning and given an extended and delicate reading that crawled across the floor on all fours. Guy’s voice was comforting while his playing had a bite that left marks. The band navigated both emotions flawlessly in an extended and powerful performance.

A boogie-woogie version of Little Milton’s “Grits Ain’t Groceries (All Around the World)” was the centerpiece of the evening even including a nod to “Sunshine of Your Love,” tucked into the middle. Guy’s soling was cutting and his band plowed through Milton’s arrangement with a big band R&B bent spotlighting Sammon’s keyboard skills.

Buddy’s son, Greg Guy, a real player in his own right joined the band for an extended instrumental vamp with some jaw dropping Telecaster riffing. Soon after, Mike Zito from the opening “Blood Brothers,” also joined in. At one point it was Father, Son, Zito, and Hall, trading licks and sharing the joy of a huge concluding and collaborative jam. During “King Bee,” riffs were flying around the room and if you couldn’t feel the blues pouring out of every pore you might have been dead. While the band jammed on Guy took the opportunity to share the love with his fans handing out picks and signing records for the crowd. His endurance and joy was addictive and an absolute pleasure to behold.

Buddy Guy at Kleinhans Music Hall was a potent shot of undistilled blues, served neat by the last remaining master of his kind. It was sexy, sweet, hard, soft and true. The blues is the truth, and Guy can’t and won’t stop preaching the gospel from the pulpit of a concert stage. All we can do is buy the ticket and take the ride, because it’s up to us to keep up, not for Guy to slow down.

Thanks to Rock Legends Photography for the images.