Concert Review: Jimmie Vaughan and His Tilt-A-Whirl Band at 229 with Surprise Guest Eric Clapton, London, U.K.

Chris Griffiths
Aug 4
3 min read

Anyone going into this evening thinking this was just going to be a normal Monday night in London was sorely mistaken. We knew we were in for an incredible night of music with Jimmie Vaughan and his Tilt-A-Whirl band, but we were yet to see just how legendary it would be.

229, the popular venue in the heart of London was sold out for both nights of this short residency and it was easy to see why. Vaughan, a founding member of The Fabulous Thunderbirds, helped shape late-'70s and '80s blues-rock with his clean tone and understated style. The older brother of Stevie Ray Vaughan, he’s since forged his own path with solo work rooted in classic Texas blues and vintage R&B.

Vaughan hit the stage cool and collected, guitar slung over his shoulder and a charming confident smile, nodding back to the crowd as the erupted. No big intro, no fanfare - just straight into it. With his long-standing band Tilt-A-Whirl at his side - rhythm guitar, upright bass, drums - the tone was set immediately. This wasn’t showmanship for its own sake. This was decades of craft delivered with swing and precision. And then came The Texas Horns, a three-piece brass unit that elevated everything without ever stealing the spotlight. Their arrangements and solos added richness and punch, tightening up the shuffle and adding urgency to the slow burners.

The set leaned hard into Vaughan’s deep roots: “Tilt-A-Whirl,” “Roll, Roll, Roll,” and “Dirty Work at the Crossroads” all arrived early and hit with authority. “I Ain’t Never” and “Six Strings Down” followed, served warm and worn-in, like stories you never get tired of hearing. His fingers moved up and down the fretboard, notes played with the gentlest touch, while the rhythm section kept it all grounded - never flashy, just unshakable.

The crowd was a beautiful mix. Lifelong fans singing every word and following every solo, next to those ready to experience a legend for the first time. Little did they know there was a 2-4-1 on legends tonight. And just when the night seemed to be hitting full flow, Vaughan stepped up to the mic with a grin and a name.

“Eric Clapton.”

The audience laughed, part of the joke, but as a figure made his way onto the right of the stage - the reaction was immediate. The room ignited as Clapton strode onto the stage, all understated poise and familiarity. What followed was a three-song run that felt both historic and effortlessly natural: “No One to Talk To (But the Blues),” “Just a Little Bit,” and “A Frame for the Blues.” This wasn’t a battle of solos. It was two lifers trading licks and phrases with mutual respect and patience. Pure musical conversation. The volume didn’t need to rise — but somehow, the whole room did. The crowd’s reaction was thunderous, like 10,000 in a space meant for hundreds.

Clapton left the stage to a roar, but Vaughan didn’t let the air out. The energy stayed high, the pacing stayed sharp. “Motor Head Baby,” “Scratch My Back,” and “White Boots” came with renewed heat. By the time “Texas Flood,” “Boom Bapa Boom,” and “The Pleasure’s All Mine” closed things out, the band was stretching the curfew and no one - least of all the crowd - minded one bit.

Vaughan’s playing remains a masterclass in restraint and taste. No unnecessary flash, no filler. Just tone, timing, and feel - the kind that can only come from years of playing for the right reasons. Monday night wasn’t just a setlist ticked off — it was an immersive reminder that the blues is still a living, breathing thing. The audience filed out the venue in high spirits, talking of two legitimate blues legends on stage playing together to a room of 550 people. It was not just a reminder of the blues of the past, but a stark notice that music must be experienced live to truly feel the energy put into the performance and be part of special moments like this.