Ruben Bertrands and the Travels to The Other Side of the Coin

Ruben Bertrand’s third studio album The Other Side of the Coin is a masterpiece of bluesy jams and infectious groove. From his unique musical beginning in Belgium with his partner, the harmonica, Bertrands performed on the streets of Brussels while hosting his own blues radio show, “Bluesapalooza.” He would then embark to Morocco and Italy where he settled in Gran Canaria. His humble start opened doors for his two album releases during the pandemic from 2020-2022. The Other Side of the Coin was released under Spectra Music Group in September 2024. Bertrands’ musical passion has stayed true as evidenced as this album highlights traditional blues and folk, country rock, and jazz infused with a modernity that breathes spirit in the mind and body.

This eccentric album begins with “Jumpin’ Turnstiles,” featuring atmospheric effects with train noises and background chatter before bouncing into funky guitar riffs and fast-paced blues. The instrumentation is an interesting assembly of traditional sounds while engrossing modern funk with the spiraling theremin and harmonica. The track is ambient and moving as though we are traveling with the band on a train through a montage and sight-sees of western towns and New Orleans. It’s trippy in the best way possible.

“Big Wave” draws into country rock as Bertrands utilizes traditional blues to reflect on his life as a wandering musician. The line “I wanna roam but I can’t do it alone” pays homage to his band, his fans, and the music. Throughout this album, Bertrand does not take any of his members for granted nor does he overshadow their incredible abilities, his sole focus being the music. This track delivers that sentimentality with his passionate vocals and catchy riffs. The harmonica takes a powerful lead backed by electric percussion and hooting background vocals. It’s simple but impactful. 

Bertrands returns to the ambient effects in “The Tombs,” with a welcome of the theremin and harmonica solo. There’s not much emphasis on vocals in this piece like a lot of the songs, but you don’t seem to mind it because the blended transition into pure instrumentals is utterly captivating. From the grooving bass, wiggling theremin, and dirty guitars, I’m constantly eager to know where the train will stop next. An impressive factor lies in “Aunt Mimi’s Off Her Meds” with seven minutes of pure music and no vocals. It’s a tighter composition, the funk illustrating a mad woman on a crashing fit because the meds aren’t there to keep her sane; yet she’s never been freer and more alive. Overflowing with groovy spirit, this track highlights the talent of all three guitarists in the band with their entrancing solo and it’s worth praising the pianist as well for their smooth delivery. This track is all the goodness with fun bouncy blues. “Cafe De Levante” matches the energy with Bertrands’ blowing his harp over the piano but shares equal reign with his band on the tunes, the drum solo being my personal notable standout.

“Revue” is where we enter a different atmosphere; rich and feverish into the jazz of the night. The biggest strength in Bertrands’ musical style is his creative talent to set the mood and pull listeners into the scene of his choosing. The atmosphere in this album is phenomenal, and from our humble start on the train, we’ve now stepped into the glamorous night life of New Orleans. Starting with crashing drums, a rippling piano chord slides into a slow jazz rift, the air filling with Betrands’ low, sultry spoken-voice tickling our ears. He steps back from the spoken vocals and the band rips loose in a drunk daze of trembling piano keys lifted by a thundering bass and clashing symbols. The lines are dangerous and smooth as whiskey: “I feel like a heatwave, keep burning and burning and burning on your trail.” In the heart of this dazzling city, a lover watches from the corner, under the moonlight, you take their hand, and desire unravels beneath the stars until sunrise. 

“Belle Of The Bog” and “Second Line Fever” close the album with their unique addition of modern musical fusion. “Belle Of The Bog” incorporated the already established jazzy percussion with the addition of a cowbell. Betrands’ vocals are backed up by a second voice that uplifts the melody. The track sprinkles in Spanish tunes with the tango-style piano that’s addicting to hear and makes you want to dance, like passion and danger.

The train reaches its final destination at “Second Line Fever.” As Bertrands’ sings, “It’s time to boogie down,” there’s no time to be sad when he pulls you by the hand to do exactly that. The melody and his ramping vocals command everybody to dance, stomp, and jump around. It’s a feel-good southern sound, warm and homey, with notes of gospel inspiration in the line “When I get to Heaven, I’m gonna jump and shout,” encouraging unity that even the fella above should come and throw it down. “Second Line Fever” is a perfect send-off to this thrilling travel across The Other Side of the Coin.

The Other Side of the Coin was an uplifting and extraordinarily vivid experience. Every track felt like an adventure, every sound, feeling, and scent melded together into a compelling scene. From train steam, bustling conversations from other passengers, a pursuit in New Orleans from a lover or foe, to being high without meds, and boogieing with God; I’ve seen it all and felt it too. Ruben Bertrands and the band perfectly capture the essence of wandering musicians enriching the souls of every city they enter, each member a gem in their mastery and authentic craft. 

Written by Amelia Suon