Friday night at the Saenger wasn’t just another show for Bonnie Raitt. It was the night of her 75th birthday—which proved an occasion to rock a little, greet a couple old friends, and have some reflective moments. And of course, to hear the audience sing “Happy Birthday” a couple of times.

But as milestone celebrations go, this one had a somber undertone. Blame that partly on the election; she noted a few times that she was still shell shocked. But it’s also down to the kind of songs that she prefers nowadays. Her latest album “Just Like That” is informed by loss; it’s title track (Friday’s centerpiece) is a rather heart-wrenching story song despite its uplifting twist. She paid tributes throughout the set to absent friends including Allen Toussaint, Lowell George and one especially close to her heart, John Prine. Also from the new album was a rocker, “Living for the Ones” (as in “Living for the ones who didn’t make it”), which is either the happiest bummer song we’ve heard this month or vice versa. (It was down to her earlier albums to provide the rockier and sexier crowd pleasers, like “Something to Talk About” and John Hiatt’s “Thing Called Love”).

As usual, she had a world-class band to do it all with. Her current guitarist is a Boston guy, Duke Levine, one of the most admired in that town (he’s played with Peter Wolf, Mary Chapin Carpenter and a host of indie acts). In this band he handles the elegant leads as a counterpoint to the grittier stuff Raitt plays on slide. Bassist Hutch Hutchinson and drummer Ricky Fataar have both been with her for decades; the latter was a full-fledged Beach Boy in the ’70s. Glenn Patscha of Olabelle took over the keyboard slot after Jon Cleary chose to stay in New Orleans full time, and provided tasty Hammond solos in a more band-like style.

The first guest to appear was Rickie Lee Jones, who was also celebrating a landmark birthday (her 70th) on the same night. They traded verses and harmonized on Prine’s “Angel From Montgomery” and though their singing styles are wildly different, their obvious affection for each other carried it. Then Cleary (who was across the street playing the Tulane benefit show at the Orpheum) made an appearance for the final encore and immediately kicked the tempo up a notch with “Unnecessarily Mercenary,” his song that Raitt recorded. Not having another song planned, Raitt then called for “I Believe I’m in Love With You,” the Fabulous Thunderbirds rocker that she’s played many times over the years, but not so much lately, It was a throwback to younger and rowdier days, as all birthday parties should be.

James Hunter’s set was an absolute kick, especially for those of us who hadn’t previously discovered this UK soul/swing artist. His vocalizing brought memories of Georgie Fame and Van Morrison (both of whom he’s worked with); there’s a bit of Bobby Darin in his hip swagger as well. He seized the post-election mood well with “Brother or Other,” a plea for understanding. But unlike Morrison, he’s exuberant and good-humored onstage: When he took the stage and saw that just half the crowd was in its seats, he greeted them with “Still at the bar, are ya? Come on back, you drunken gits!” I left with two of his Daptone LPs under my arm.

About The Author

Brett Milano

Milano is a veteran music critic whose 2007 book, The Sound of Our Town: A History of Boston Rock and Roll, “should be required reading for anyone interested in understanding Boston’s unique contribution to rock ‘n’ roll.”
Milano entered the Boston music scene in the 1980s as a music journalist. He was a long-time columnist for the Boston Phoenix, as well as the Boston Globe and Sound & Vision magazine. Milano has also written for publications such as Billboard, Pulse, and the College Media Journal. In 2013, he became the editor of OffBeat, where he has written about music since 2005.

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