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Robbie McIntosh

Robbie McIntosh (born 25 October 1957) is an English guitarist renowned for his work as a and band member across rock, pop, and jazz genres. Best known for his role as lead guitarist in the rock band from 1982 to 1987, including their performance at the 1985 concert, McIntosh contributed to albums such as Learning to Crawl (1984) and established himself as a versatile player with a distinctive, melodic style influenced by classic rock acts like and The Who. Born in , , McIntosh began playing guitar at age 10 and pursued classical training from ages 13 to 18, achieving Grade 8 level under instructor Michael Lewin. His early career in the 1970s involved session work before joining , where he helped shape the band's sound during a pivotal era following the death of original guitarist . After leaving the group in 1987, McIntosh became a sought-after , touring and recording with from 1989 to 1993 on projects like the album Flowers in the Dirt (1989) and the world tour supporting it, adding a sharp, rhythmic edge to McCartney's post-Beatles material. In the 2000s and beyond, McIntosh expanded his collaborations to include tours with Norah Jones in 2004 and John Mayer from 2006 to 2010, as well as session appearances with artists such as Roger Daltrey, Mark Knopfler, Cher, and Sir Tom Jones. He has also pursued solo and band projects, releasing albums like Emotional Bends (2000) with the Robbie McIntosh Band, Unsung (2000), Wide Screen (2001), Turn Up for the Books (2013), and Seaworld (2021), showcasing his songwriting and instrumental prowess in a blend of rock and fusion styles. In recent years, he has continued touring, including as lead guitarist for Sir Tom Jones and solo performances in 2025. Throughout his over four-decade career, McIntosh has been praised for his adaptability and clean, emotive guitar tones, making him a staple in both live and studio settings for high-profile acts.

Early life and influences

Childhood and family

Robbie McIntosh was born on 25 October 1957 in , , . He grew up in the suburbs, spending much of his early years in the nearby borough of Merton. McIntosh's family created a nurturing environment rich in music, though none were professional musicians. His mother played at home, while his father was an avid enthusiast who shared records by artists such as , , and . His two older sisters further fueled his exposure through their collections of popular rock records, including those by and . These familial influences shaped a modest household centered on shared musical enjoyment rather than formal performance. Around the age of 10, McIntosh's passion for music ignited, prompting the purchase of his first guitar, which he taught himself to play by replicating tunes from the records he heard. This self-directed exploration laid the groundwork for his development as a , leading to formal classical lessons at age 13.

Musical education and early inspirations

McIntosh began playing the guitar at the age of ten, initially teaching himself by picking out tunes from records in his family's collection. This self-directed approach laid the foundation for his early development, drawing from a diverse array of sounds available at home. At age thirteen, he started formal lessons with teacher Michael Lewin, who later became a professor at the Royal Academy of Music. McIntosh continued these lessons rigorously, achieving Grade 8 by age eighteen, which provided him with a strong technical grounding in classical techniques. This structured education complemented his self-taught efforts, emphasizing precision and discipline under Lewin's guidance. His primary influences stemmed from family exposure to various genres, including rock from his sisters' records—such as The Beatles, The Rolling Stones, The Kinks, The Spencer Davis Group, and Jimi Hendrix—and jazz from his father's favorites like Fats Waller, Django Reinhardt, and Louis Armstrong. Additionally, discovering blues artists like Lightnin' Hopkins ignited a lasting passion for the genre. These elements collectively shaped McIntosh's versatile style, blending rock energy, jazz improvisation, blues expression, and classical finesse into a distinctive fusion-oriented approach.

Career

Early bands (1970s)

McIntosh formed his first band, 70% Proof, in the mid-1970s alongside bassist Paul Eager, drummer Russell Ayles, and keyboardist Graham Mincher. The group performed original songs as well as covers of artists such as , The Who, , and , rehearsing on Sundays at a local dump works canteen in southwest . Described by McIntosh as "pretty good really," the band represented his initial foray into live performance as a self-taught honing his skills in a pub rock setting. In 1977, McIntosh joined The Foster Brothers, a group led by brothers Graham and Malcolm Foster from . As the lead guitarist, he contributed to their touring schedule across the and recording sessions that year, blending covers and original material in local venues. The band, known for its energetic rock sound, gradually disbanded in early 1978 after a period of consistent performances. McIntosh's next venture began in 1978 when vocalist Chris Thompson invited him to join Filthy McNasty as lead guitarist; the band soon renamed itself Night for recording purposes. They recorded their self-titled debut album in with producer for Planet Records starting in November 1978, featuring McIntosh on guitar and vocals alongside Thompson, Stevie Lange, , and Billy Kristian. The album's lead single, a cover of Walter Egan's "Hot Summer Nights," reached number 18 on the in 1979. Night toured the that year as for , performing at major venues and building on early gigs at spots like The Bridge House and The Golden Lion, before disbanding in 1980.

Mid-1970s to early 1980s projects

Following the release of their self-titled debut album Night in 1979, the band Night, featuring McIntosh on guitar, continued performing and recording through the late 1970s and into 1980. The group issued a second album, Long Distance, in 1980, which included tracks like "Love on the Airwaves" and showcased McIntosh's contributions on lead and alongside vocalist Chris Thompson. Night disbanded later that year, marking the end of McIntosh's involvement with the short-lived rock outfit that had emerged from his earlier pub rock experiences. After Night's dissolution, McIntosh collaborated with Thompson again, forming the band Chris Thompson and the Islands in 1980 with bassist Malcolm Foster and keyboardist Paul "Wix" Wickens. Active through , the group focused on developing new material during this transitional period, with McIntosh providing guitar work that blended rock and pop influences. Their efforts culminated in the 1983 album Out of the Night, where McIntosh co-wrote and performed on several tracks, including "Every Little Move" and "The Islands (Here We Go)". In the early 1980s, while based in Kingston, McIntosh formed a short-lived called Dean Martin's Dog to play the local pub circuit, alongside Foster, drummer Mick Clews, keyboardist Jez Wire, bassist Rupert Black, and guitarist Mike Hehir. This informal project emphasized original material and served as a creative outlet during McIntosh's shift toward more prominent opportunities.

(1982–1987)

Following the sudden death of founding guitarist from a in June 1982, temporarily enlisted of on guitar while auditioning permanent replacements. Robbie McIntosh, drawing on his prior session experience, successfully auditioned and joined the band as lead guitarist in September 1982, helping to stabilize the lineup alongside new bassist Malcolm Foster. McIntosh's tenure marked a recovery phase for the band, contributing significantly to their third album, Learning to Crawl (1984), which achieved platinum status in the United States. He provided lead guitar parts throughout the record, including the high-register lines in the hit single "Back on the Chain Gang," which reached number five on the Billboard Hot 100 and served as a tribute to Honeyman-Scott. His playing on tracks like "Middle of the Road" featured notable solos that blended rock energy with melodic precision, earning praise for maintaining the band's punk-inflected sound while adding a session musician's polish. The album's success, including top-10 placements on both UK and US charts, solidified McIntosh's role in the Pretenders' resurgence. On the follow-up (1986), another US platinum seller, McIntosh continued as lead guitarist, delivering riffs and solos on singles such as "Don't Get Me Wrong," which peaked at number ten on the , and "." His contributions emphasized versatile, understated guitar work that supported Chrissie Hynde's vocals without overpowering the arrangements, as heard in the jangly intro and bridge of "Don't Get Me Wrong." The album reflected a shift toward pop-rock elements, with McIntosh's reliable, studio-honed style helping to bridge the band's raw origins and commercial evolution. McIntosh toured extensively with the Pretenders to support both albums, including the 1984 Learning to Crawl world tour that featured high-energy performances across and , such as sold-out shows at . In 1985, he performed at in , showcasing solos on classics like "Middle of the Road" to an audience of over 1.5 million viewers worldwide. The 1986-1987 Get Close tour further highlighted his adaptability as a live player, blending session precision with rock band dynamics and building his reputation as a dependable in a volatile group setting. After five years with , McIntosh departed in September 1987, citing a need to step away from the intense touring and band dynamics to pursue other musical opportunities. His exit allowed him to transition into high-profile session work, while maintaining an amicable relationship with Hynde.

Roger Daltrey and 1980s sessions

In 1985, Robbie McIntosh served as the primary guitarist on 's solo album Under a Raging Moon, contributing parts and s across multiple tracks, including the Stratocaster solo on the title song, which honors the late Who drummer . The album, recorded at Wessex Studios in with a ensemble of session musicians, showcased McIntosh's rock-oriented playing in support of Daltrey's powerful vocals, with McIntosh later recalling the sessions as "great fun" due to the collaborative energy and Daltrey's passionate delivery. McIntosh's mid-1980s session work extended to other projects, including guitar contributions to Jerry Harrison's 1988 album Casual Gods, the Talking Heads keyboardist's side project blending and elements, where he provided rhythm and on tracks such as "Rev It Up" and "Man with a Gun." This period also saw early involvement with the Kevin McDermott Orchestra, as McIntosh delivered electric on their debut album Mother Nature's Kitchen (1989), adding textured rock influences to the Scottish band's folk-tinged songwriting. These freelance engagements, distinct from McIntosh's concurrent band commitments, solidified his reputation as a versatile session guitarist capable of adapting to rock anthems and experimentation, often emphasizing melodic solos and rhythmic drive in high-profile studio environments.

Paul McCartney (1989–1994)

In 1988, Robbie McIntosh began session work for , contributing guitar to several tracks on the album , including acoustic and electric parts that added texture to songs like "Figure of Eight" and "." His prior collaboration with McCartney's associate and endorsement from , McIntosh's former bandmate, led to an invitation to join McCartney's touring band without a formal audition; McIntosh impressed during informal jams at McCartney's home studio and , securing the role as lead guitarist for the upcoming world tour. This marked McIntosh's entry into one of the most high-profile gigs of his career, transitioning from session versatility in the 1980s to a central role in McCartney's live ensemble. McIntosh's guitar contributions extended to McCartney's live releases during this period. On the 1990 double album Tripping the Live Fantastic, a comprehensive document of the 1989–1990 World Tour, McIntosh provided electric and acoustic guitar across 37 tracks spanning McCartney's solo, Wings, and catalogs, enhancing the energy of performances like "Band on the Run" and "Let It Be." Similarly, the 1993 live album , recorded during the , featured McIntosh on electric and acoustic guitars and backing vocals, with standout moments including his Chet Atkins-inspired instrumental "Robbie's Bit (Thanks )," a fingerstyle solo that showcased his technical finesse during set breaks. These recordings captured McIntosh's ability to blend seamlessly with the band's rhythm section— on keyboards and vocals, on bass and guitar, Paul "Wix" Wickens on keyboards, and on drums—while delivering McCartney's expansive repertoire with precision and flair. McIntosh's tenure highlighted extensive global touring, beginning with the 1989–1990 World Tour, McCartney's first major solo outing since the Beatles era, which spanned 103 dates across North America, Europe, and Japan from September 1989 to July 1990. As lead guitarist, McIntosh handled dynamic solos that elevated classics, such as his bluesy lead on "Get Back," which injected fresh improvisation into the Beatles staple, and fiery riffs during the explosive "Live and Let Die," complete with pyrotechnics that amplified the song's dramatic crescendos. The tour's scale—drawing massive crowds and setting attendance records—underscored McIntosh's reliability in high-stakes settings, with the band incorporating a mix of new material from Flowers in the Dirt alongside Wings hits and Beatles medleys like the Abbey Road suite, where McIntosh traded licks in a three-guitar jam on "The End," culminating in a record-breaking concert at Maracanã Stadium in Rio de Janeiro on April 21, 1990, for over 184,000 fans. The partnership continued with the 1993 New World Tour, supporting McCartney's Off the Ground album, which ran from March to November 1993 across Australia, Asia, Europe, and North America, featuring 78 shows. McIntosh's performances remained integral, reprising solos on "Get Back" and "Live and Let Die" while adding acoustic depth to intimate segments like a duet rendition of "Blackbird," where McCartney personally demonstrated fingerpicking techniques to him during rehearsals. His suggestion to include "Fixing a Hole" from Sgt. Pepper's Lonely Hearts Club Band further personalized the setlists, reflecting his deep appreciation for McCartney's catalog. McIntosh departed the band in early 1994 following the tour's conclusion, citing a preference for shorter commitments over extended global treks, though he maintained session ties with McCartney thereafter.

1990s collaborations and band formation

Following his tenure with , which provided significant exposure in the late 1980s and early 1990s, Robbie McIntosh continued his session work with emerging artists. In 1989, he contributed lead to the Kevin McDermott Orchestra's debut album Mother Nature's Kitchen, delivering sharp, melodic lines that complemented the band's sound on tracks like "Bedazzled" and "Hateground." This collaboration highlighted McIntosh's versatility in supporting vocalist Kevin McDermott's songwriting, blending rock edges with subtle atmospheric textures. By the mid-1990s, McIntosh sought greater creative autonomy, leading to the formation of his own ensemble in 1998. The Robbie McIntosh Band assembled top session players including drummer Paul Beavis, bassist , harmonica player Mark Feltham, and pedal steel guitarist Melvin Duffy, focusing on instrumental jazz-rock fusion that drew from McIntosh's influences in , , and . The group debuted with live performances emphasizing extended jams and dynamic interplay, releasing their first album Emotional Bends in 2000, which showcased McIntosh's fluid guitar work on originals like "." That same year, McIntosh marked his transition to independent artistry with the solo acoustic album Unsung, a collection of introspective instrumentals including covers like Chopin's "Prelude No. 4" and originals such as "Strange Attractor" and "Green Tom." Released on Compass Records, the album reflected a stripped-down approach, prioritizing and emotional depth over band arrangements, signaling his pivot from high-profile backing roles to personal expression.

Norah Jones, John Mayer, and 2000s work

In 2004, Robbie McIntosh joined Norah Jones' backing band, known as The Handsome Band, for the world tour supporting her album Feels Like Home. As lead guitarist, he contributed electric, acoustic, and slide guitar, mandolin, and backing vocals, infusing the performances with his signature blues-jazz textures that complemented Jones' intimate jazz-pop style. The tour showcased McIntosh's versatility in a live setting, highlighted by a concert filmed at Nashville's Ryman Auditorium in August 2004, later released as the DVD Norah Jones and The Handsome Band: Live in 2004. This recording captured key tracks from Feels Like Home, including "What Am I to You" and "Sunrise," where McIntosh's dobro and guitar work added emotional depth and subtle swing to the ensemble's relaxed authority. From 2006 to 2010, McIntosh served as a core member of 's touring band, delivering rhythm and , dobro, , and all elements during promotions for Mayer's Grammy-winning album Continuum (2006). His blues-inflected playing provided a grounding to Mayer's soulful leads, particularly in live renditions that emphasized the album's guitar-driven tracks like "Gravity" and "Bold as Love." McIntosh's contributions were prominently documented on the triple-disc live release Where the Light Is: John Mayer Live in Los Angeles (2008), recorded at the Nokia Theatre, where his on "Daughters" and backing harmonies elevated the acoustic, trio, and full-band sets. He also appeared on The Village Sessions (2006), an EP featuring acoustic reinterpretations of Continuum material, further demonstrating his adaptability across stripped-down and amplified formats. Throughout the 2000s, McIntosh broadened his pop-jazz crossover appeal through select session work and live appearances with prominent artists, building on his fusion-oriented background from the prior decade. He provided electric guitar on Celine Dion's "The Reason" from the blockbuster album Let's Talk About Love (1997), a track that carried into early 2000s airplay and underscored his ability to blend subtle jazz phrasing with mainstream pop orchestration. His collaborations extended to live settings with , including guitar duties on blues standards during European tours in the mid-2000s, and sessions with , where his acoustic and electric work supported her eclectic mix of folk-jazz and pop on early 2000s projects. These engagements highlighted McIntosh's role in bridging genres, from soulful ballads to rhythmic grooves, while maintaining a focus on tasteful, supportive guitar lines.

2010s solo projects and sessions

In the early , Robbie McIntosh continued to develop his solo career with a focus on and song-based material that highlighted his guitar versatility. His 2003 Hush Hour, an collection blending acoustic and electric elements designed as "the antidote to heavy traffic," saw ongoing promotion through live performances into the decade, where tracks were integrated into sets to showcase his nuanced playing style. This work, originally released on Flying Sparks Records, emphasized relaxed, road-friendly grooves that reflected McIntosh's evolving interest in ambient and jazz-inflected rock. A significant milestone came in 2013 with the release of Turn Up for the Books, McIntosh's fifth solo album, issued independently and featuring a mix of original songs and instrumentals performed with The Robbie McIntosh Band. The album, comprising tracks like "Biodegradable Man," "Carousel," and "Highland Blues," drew critical acclaim for its eclectic blend of , , and rock elements, earning five-star reviews for its songwriting depth and guitar work. McIntosh handled vocals, guitars, and production, with band contributions adding a live, feel that built on his influences from collaborations with artists like . Throughout the decade, McIntosh balanced solo endeavors with select session work, contributing acoustic and to Winter Mountain's self-titled debut album in 2013, enhancing the Cornish duo's folk-rock sound with subtle, atmospheric textures on multiple tracks. He also provided for Paul Carrack's 2018 release These Days, appearing on songs like "Life in a Bubble" to infuse Steely Dan-inspired sophistication and soulful grooves. These sessions underscored McIntosh's reputation as a go-to for nuanced, high-caliber projects. McIntosh cultivated a dedicated following in the 2010s through intimate live jazz-rock performances with his band, often at venues like The Convent Club, where sets featured material from Turn Up for the Books and earlier works, blending improvisational elements with structured compositions to engage audiences in smaller, cult-like settings. These shows highlighted his technical prowess and warm stage presence, fostering appreciation among guitar enthusiasts for his explorations.

2020s releases and live activities

In 2021, Robbie McIntosh released two solo albums amid the challenges of the . Seaworld, issued on June 6 via , featured original songs co-produced with Stephen Darrell Smith and included contributions from musicians such as Steve Wilson on bass and on percussion, with backing vocals from McIntosh's daughter on one track. Later that year, on December 18, McIntosh put out Fortuneswell, a download-only collection also co-produced with Smith, with all proceeds directed to the Fortuneswell Cancer Trust to support patients in Dorset. Building on his instrumental explorations from the , McIntosh joined the ensemble Held By Trees in 2022 as lead guitarist, drawing from alumni of and Mark Hollis's circle. He contributed to their debut album , released in April, which debuted at number 4 on the indie charts and number 23 on the physical sales chart, earning acclaim for its atmospheric soundscapes. The group performed live throughout 2023, including shows at venues like The Portland Arms in on January 14 and the Half Moon in on September 21. McIntosh maintained an active live presence into the mid-2020s, often performing with his band featuring regulars like Linscott on percussion. In 2024, he played a hometown gig at The Sound Lounge in on February 17, delivering a set blending blues-tinged originals and covers. The following year saw further engagements, including an appearance at the Guitar Dreams retreat and festival in in September, where he shared the stage with artists like and John Goldie. He returned to The Sound Lounge for another performance on October 17. As of 2025, McIntosh has additional dates lined up, such as shows in on November 29 and Barnoldswick on November 30, frequently collaborating with on select projects and Linscott in his core lineup. In recent years, he has continued session work, featuring on singles such as "" (2024), "Something About Your Eyes" with (2025), and Eric Bibb's "" (November 13, 2025), the latter from Bibb's forthcoming album One (January 2026).

Discography

Solo albums

McIntosh released his debut solo album, Unsung, in 1999 on Compass Records. This self-produced effort features a mix of original compositions and covers, including a rendition of Frédéric Chopin's Prelude No. 4, blending work with jazz-influenced elements across tracks like "Strange Attractor" and "Green Tom." In 2003, he followed with Hush Hour - The Antidote to Heavy Traffic on Flying Sparks Records, an instrumental album showcasing atmospheric guitar pieces designed for relaxation, drawing from his extensive background to create soothing, traffic-calming soundscapes with both solo and ensemble arrangements. Turn Up for the Books, self-released in 2013, marks a collaborative venture with his , emphasizing improvisational -rock through live-recorded tracks such as "Biodegradable Man" and "," highlighting McIntosh's guitar prowess in a group setting. , self-released in 2017, is a collection of original songs and instrumentals reflecting McIntosh's rock and influences. Thanks Chet, released in 2018, pays tribute to guitarist with instrumental tracks featuring McIntosh's fingerstyle acoustic guitar work. The 2021 album , distributed via , reflects post-pandemic introspection with original songs like "Selfish Love" and the title track, featuring collaborators including harmonica player Peter Hope-Evans and drummer Paul Beavis, produced in part by Stephen Darrell Smith. Also in 2021, McIntosh self-released Fortuneswell on December 18 via Bandcamp, an acoustic-oriented collection of songs including "Way Over My Head" and "Common Ground," with proceeds directed to the Fortuneswell Cancer Trust to support local cancer care initiatives.

Album appearances with bands and artists

Robbie McIntosh's contributions as a session guitarist and band member span numerous albums by prominent artists and bands, showcasing his versatile lead and rhythm guitar work across rock, pop, and jazz-influenced genres. His early collaborations include playing lead guitar on Chris Thompson's debut solo album Out of the Night (1983), where he provided solos and rhythmic support on tracks like "The Islands (Here We Go)". During his tenure with The Pretenders from 1982 to 1987, McIntosh served as lead guitarist on two key studio albums. On (1984), he delivered distinctive guitar parts and backing vocals across multiple tracks, including the hit "" and "Middle of the Road," contributing to the album's raw energy and commercial success. Similarly, on (1986), McIntosh's lead guitar work featured prominently on songs like "" and "," helping the record achieve platinum status in the . In 1985, McIntosh was the primary guitarist on Roger Daltrey's solo album Under a Raging Moon, handling Stratocaster solos and rhythm guitar on tracks such as the title song—a tribute to Keith Moon—and "Move Better in the Night," which he co-wrote. His contributions added a sharp rock edge to the Who's frontman's sixth solo effort. McIntosh joined Paul McCartney's backing band in 1989, playing lead guitar on the studio album Flowers in the Dirt (1989), where he featured on tracks like "My Brave Face" (co-written with Elvis Costello) and provided acoustic and electric textures throughout. He continued with McCartney through the early 1990s, appearing on live albums Tripping the Live Fantastic (1990), capturing the World Tour performances, and Paul Is Live (1993), which documented later tours with dynamic guitar solos on classics like "Live and Let Die." In the and , McIntosh's session work expanded into pop and alternative scenes. He played and on Céline Dion's "The Reason" from (1997), adding subtle accompaniment to the . On Tori Amos's (2002), he contributed acoustic and to tracks including "" and "Amber Waves," enhancing the album's introspective folk-rock atmosphere. McIntosh supported on her Feels Like Home (2004) world tour as a , handling , acoustic, electric guitar, , and backing vocals. He provided a on "Rosie's Lullaby" from her album Not Too Late (2007). For , McIntosh provided rhythm and lead guitar during the 2006–2010 tours promoting (2006), including live recordings like Where the Light Is: John Mayer Live in Los Angeles (2008), where his and added depth to tracks such as "Gravity" and "Bold as Love." Later sessions include lead guitar duties with Tom Jones from 2014 to 2016, featuring live performances but no major studio album credits in that period. More recently, McIntosh guested on guitar for Held By Trees' instrumental debut Solace (2022), contributing to atmospheric tracks like those composed with David Knopfler, blending his rock roots with ambient textures.

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