“Oh my gosh, what would we do without soul music!” said Bonnie Raitt, before singing her own soulful “Nick of Time” at her June 5 concert at Prudential Hall at NJPAC in Newark.
Testifying to the power of music itself was a constant theme of her between-song commentary during this show. After performing John Prine’s “Angel From Montgomery,” for instance, she remembered how Phoebe Snow used to come to her New Jersey shows and how Snow would sit in with the band and “tear the roof off of that sucker right there. We’d do a Sam & Dave song, ‘I Thank You,’ and it was just … I fell over, you know.”
And about Prine himself, she said that when he died in 2020, it “was like losing a limb, for me.”
Raitt — who remains, at 74, a powerful vocalist and searing guitar player — said that just as her fans keep coming out to her shows, year after year, she keeps going to shows by people like Jackson Browne, Bruce Hornsby and Bruce Springsteen. “In these difficult times, this is what keeps us going,” she said. “It’s all I can do to get out of bed, a lot of days.”
The show was part of her Just Like That … Tour, which began back in March 2022 and will continue until at least November of this year. She included five songs from her 2022 Just Like That … album in her setlist and, as always, offered a tasteful mix of blues, roots and world music, with group of casually virtuosic musicians (guitarist Duke Levine, keyboardist Glenn Patscha, drummer Ricky Fataar and bassist James “Hutch” Hutchinson) behind her.
“This third year of touring behind this record, I’m pulling out some things that I’ve always wanted to work on,” she said before performing her second encore, Michael McDonald’s “Matters of the Heart,” which she released on her 1995 live album Road Tested but rarely has performed in concert since then.
She sang plenty of songs from her late-’80s/early-’90s commercial heyday (including “Something to Talk About,” “Love Letter” and the wrenchingly sad “I Can’t Make You Love Me”) but, in other parts of the show, roamed all over her catalog, with material ranging from “Never Make Your Move Too Soon” (which she performed with Ruth Brown and Charles Brown on Road Tested) to Bob Dylan’s “Million Miles” (recorded with a deep blues feeling on her 2012 album Slipstream). After “Million Miles,” she repeated a line from it, “Maybe in the next life I’ll be able to hear myself think,” as if to say, “What a great line!”
She dedicated “Livin’ for the Ones (Who Didn’t Make It)” to Prine, Snow, Jimmy Buffett, David Lindley, David Crosby, Toots Hibbert “and all the ones we lost too soon.” She paid tribute to the late Hibbert, of Toots & the Maytals fame (he’s “one of the greatest artists of any genre of music,” she said), before singing his “Love So Strong,” and the late Oliver Mtukudzi (“he’s just the greatest,” she said) before his “Hear Me Lord,” with Levine doing a great job of reproducing Andy Abad’s nimble lead guitar playing from Raitt’s recorded version.
After the “what would we do without soul music” comment quoted above, Raitt specifically mentioned Gamble & Huff, Thom Bell, The Stylistics and Al Green. And she lavished praise upon singer-songwriter Paul Brady before ending the pre-encore portion of the show with his “Steal Your Heart Away.’
Introducing the Just Like That … title track, which is about a woman who meets the person who received her deceased son’s heart in an organ-donation operation, Raitt said she was inspired to write it by Prine’s story-songs — “how he managed to get inside so many characters’ deepest soul in the fewest amount of words,” she said. “Just bring ’em to life, illuminate his own heart.”
She also said about Prine, “There will never be anyone like him. We’ll just keep him alive, playing his music.”
Since so many other artists who are older than her remain capable of being brilliant concert acts, she figures that she still has many years to keep doing that, herself.
“When I look at my elders, like Mick (Jagger) and Keith (Richards), and Bob (Dylan), and Willie (Nelson) … Mavis Staples, 85 years old … I feel like a youngster,” she said.
Opening the show was British singer-songwriter James Hunter and his sextet The James Hunter 6, which includes a two-piece horn section. Their set peaked with a hard-driving version of the Clarence “Gatemouth” Brown instrumental, “Okie Dokie Stomp.”
Here is Raitt’s setlist:
“I Sho Do” “God Was in the Water” “Made Up Mind” “Love So Strong” “Blame It on Me” “Hear Me Lord” “Million Miles” “Just Like That” “Something to Talk About” “Love Letter” “Nick of Time” “Angel From Montgomery” “Livin’ for the Ones” “Steal Your Heart Away”
Encore: “I Can’t Make You Love Me” “Matters of the Heart” “Never Make Your Move Too Soon”
About The Author
Jay Lustig
Founder
NJArts.net covers all forms of art, throughout NJ. It was created in 2014 by Jay Lustig, who has been covering the arts in NJ for 36 years.
ALBANY — Bluesy legend Bonnie Raitt performed to an eager, busy crowd Tuesday at the Palace Theatre. The theater was packed, and the seats were filled with a wide spectrum of sweaty bodies on this roasty summer evening — everyone from a young girl wearing a rainbow-striped dress to the elderly man wearing an awesome Hawaiian shirt with Godzilla splashed both front and back, however, the latter age group was the most in attendance.
I think the age range of an audience says a lot about the ability of an artist to span generations, and it seems that Bonnie’s music had done just that — it was reaching the ears of grandparents, parents, and grandchildren the same way that, say, John Denver had done for me. It brings music lovers together.
Being a music photographer has its own perks, such as getting to listen to legends perform, but it also has its typical limitations as being the only ones allowed to bring a “big camera” into a concert. That’s typically being allowed to shoot three songs before the gear goes away. Usually, those three songs are directly in front of the stage in the “pit.” Sometimes they’re by the soundboard. That is to be expected.
However, it was disappointing to show up to see this legend being only allowed to shoot one song from as far back as you could get in the venue. I wasn’t the only one being restricted, and I suppose there is some sort of solace in that. Everyone was restricted. Upon walking into the venue was the sign that pretty much stated no cell phones of any kind were permitted. Not just during the show, but before as well. No calls. No texting. No social media “of any kind.” No photos. No videos. Was I in St. Peter’s Basilica about to watch the Pope deliver a benediction?
As a photographer of music, the ability to capture music is something I’m passionate about. And I got my start by pointing my phone at the stage and taking photos. It’s one thing to ban or restrict cell phone usage if you’re about to film a special or unreleased content. And I truly do understand wanting people to just be present in the moment. But this is a concert, and it bothers me that we’re policing how people want to enjoy the music they have paid money to see. Do I want to see my neighbor holding an iPad over their head? No. But if someone wants to video their favorite song to watch back later, why is that so bothersome? Most of the time, when I am recording a video of a concert, I’m recording it for me to remember the feeling of being there. That’s all to say, it felt draconian and curdled the vibe to me. It’s entirely possible I am alone in that belief, and that’s fine. But where this rule bothered me was particularly because of the average age of the audience, a demographic where having a phone on ICE is important.
But I suppose I should hop off my soapbox and write about the music itself, which was actually a great experience. The evening started off with The James Hunter Six, an English R&B band that was only in their fourth show on Raitt’s tour. I enjoyed watching them and listening to them play. Their stage presence, sound, and swagger made the Palace feel like a Music Row honky tonk, or a jazz club in Kansas City (in the best way!) for their lengthy 16-song set. They were a dynamic bunch, with beaming smiles and masterful control of their instruments.
The woman of the hour, Bonnie Raitt, entered the stage a few minutes later than anticipated, but that was only because she wanted a medical emergency to receive the necessary, timely attention it desired, but I am left wondering how this was at all affected by the cell phone ban. That said, the compassion and well wishes she made did not go unnoticed, and in a time where there is such rampant negativity, it was refreshing. When she actually began to play and sing, she had a majestic, painterly landscape illuminated behind her, colors shifting to fit the mood of the song.
Right from the get-go, as the band played, the spotlight shifted to whoever commanded the audience’s attention. This left Bonnie bathed in shadow while her talented and accomplished bandmates were showered in the white light. Bonnie’s ability to share the stage and literal spotlight was a wonderful thing I just don’t see too often — so many artists simply allow their company to get lost in the haze from the fog machine or in the shadows upstage. Not Bonnie. Bonnie let them shine.
Bonnie also made a somewhat surprise dedication of her song “Blame,” in which she informed us that fellow acclaimed singer Joan Osborne was in the audience. This was met by a gasp from a few rather excited audience members and a few “where!?” whispers.
Raitt’s iconic voice was smooth and gravely in all the right places, making for a fantastic vocal performance, one that was as imperfectly perfect as a voice like hers performing live could be. To elevate the show, the acoustics and sound mixing at the Palace did her really well. The vocals and instruments were incredibly balanced (at least to my ears) and the volume wasn’t too loud and ear-splitting.
Naturally, Bonnie closed out her set with her three-song encore of some of her most popular hits, including “I Can’t Make You Love Me,” a song which I will now be humming for the next few days.
Bonnie Raitt’s down-to-earth songwriting and approachable voice with singable songs makes it easy to understand why she is beloved by audiences of all ages. My personal gripes with the restrictions on what the audience (and photographer!) could or couldn’t do aside, I hope Bonnie’s music continues to reach the ears of music-lovers for generations to come. She may not be able to “make us love her,” but with a voice like hers, there’s no way her music doesn’t resonate and make us do just that.
Elissa is an award-winning music photographer & graphic designer, and writer with a lot of mostly unsolicited, sarcastic opinions. She’s obsessed with orcas, and can often be found making a lot of really stupid jokes. She lives in Troy with her three cats, and isn’t good enough to have imposter syndrome.
If we had the ability to assess who is the most beloved figure in music — not in overall numbers, but sheer adoration, per capita and per peer — it likely wouldn’t be Taylor or Beyoncé but Mavis Staples, who has been taking us there since the late ’60s. There being the smile that crosses anyone’s face when fortunate enough to be in the same room, or even in just giving a passing thought to that voice, that presence, and all the different ways in which Staples embodies righteousness. The term “national treasure” doesn’t even begin to get at it.
With flowers-giving being a natural state of affairs for Staples at this point in her stature, drawing up a solid list of willing performers for a salute to the legendary singer probably doesn’t count as the most daunting task ever. An assemblage of musical greats in their own right gathered at the YouTube Theater in the greater L.A. area Thursday night for “Mavis Staples 85th: All-Star Birthday Concert,” a three-and-a-half-hour affair that had a roster including Hozier, Chris Stapleton, Bonnie Raitt, Jackson Browne and Black Pumas performing on their own or, eventually, with the birthday gal.
Also on the crowded poster for the Blackbird Presents/Live Nation-produced concert were Jeff Tweedy, Nathaniel Rateliff, Norah Jones, Grace Potter, the War and Treaty, Taj Mahal, Robert Randolph, Keb’ Mo, Trombone Shorty and Michael McDonald … fronting a band assembled by Don Was and including such name players as Benmont Tench and Greg Leisz (plus her longtime guitarist Rick Holmstrom, who led Staples’ own touring band onto the stage for the very last stretch). The words “You Are Not Alone” — the title of a Tweedy-penned comeback song — were fairly applicable by the time the full cast came out to share “The Weight” at show’s end.
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Mutual admiration societies have a funny way of expressing themselves when Staples is in quip mode. When she brought Raitt out near the end of the show to sing “I’m on My Way” with her near the close of the evening, there was some fervent hugging, and Staples joked, “She grab me every chance she get.” Raitt explained herself: “You’ve got a secret. I wanna learn what that is.” Staples is probably one of the few artists around who could get away with saying to the singer and slide guitarist “Come on, little girl.” After their shared number, the legend kept calling out Raitt’s name and added, “Pops [Mavis’ father] used to say, ‘There’s a little piece of leather, but she’s well put together.’”
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Mavis Staples & Bonnie Raitt – Turn Me Around
Staples and Raitt nearly had a mild flirtation going on, and that seemed contagious. When Raitt was separately dueting with Browne, she had a moment of spontaneously blurting: “God he’s so good looking, isn’t he?,” noting that after all these years, she was “still looking at him, going, he’s still got it.” (“Bonnie’s still got it, too,” he replied, taking the compliment.)
Stapleton provided more contemporary firepower, hiding his from the spotlight under the shadow of his ever-present cowboy hat but letting his voice ring loud and clear alongside Staples’ on a moving duet of “Friendship,” first recorded by her father, “Pops” Staples, near the end of his life.
Hozier was the artist on the bill with the most heat in the present moment, with a song (“Too Sweet”) currently in the top 5. He also has some of the best bona fides for appearing at a tribute, since he wrote a song that in part pays tribute to Staples and then got her to sing on it — “Nina Cried Power” (named after another great singer who is name-checked in the tune), a single from his second album. Staples did not come out and reprise her vocal on that song, a duty that was instead ably taken over by the night’s backup troupe, the McCrary Sisters. In the absence of the guest of honor, he paid tribute to Staples as he does every night on tour, offering a spoken testimony about her historical impact.
“Artists like Mavis, in the words of WB Yeats, can hold in their work, in the same thought, reality and justice,” Hozier said. “And these two very often opposing things can show us a picture of our world, but also show us our love and the small things — it could be love between people, our neighbors — the small solidarities that hold our world together. One such example of that, a critical mass, obviously, was the civil rights movement. I say this every show when we play this song: The civil rights movement here in America that Mavis was in the center of directly inspired the civil rights movement in Northern Ireland… And there’s an Irish revolutionary by the name of James Connolly who once wrote that ‘no revolution is ever complete without its poetical expression.’ I just want to say, Mavis has always represented to me the poetical expression of the ongoing revolution of love and kindness.”
Hozier has an earthy side to go along with his high-mindedness, as anyone who has heard “Too Sweet” can attest. And so he paid tribute to Staples having these different sides, too — and showed off his own latent, classic R&B inclinations — by following “Nina Cried Power” with a cover of the sexiest song in Mavis’ career, “Let’s Do It Again,” a No. 1 pop and R&B hit for the Staple Singers in 1975.
Hozier is of course not the first younger artist to make a point of finding ways to put Staples back in the limelight. Wilco’s Tweedy did it by writing and producing an album for her a little more than 15 years ago that put her in front of a rock audience. The two of them performed the most memorable song from that recording with the touring band she brought along to accompany her on the night’s final stretch.
“Tweedy wrote this song for me. What year was that? — oh-eiight — and it’s the most beautiful song I had ever heard. So we went on and recorded it, and it got us a Grammy.” At another point in the show, Tweedy sang without Staples in reviving another song he wrote for her, “One True Vine,” the title track of their followup collaboration in 2013.
Performing on his own, Browne told the audience about his discovery of Staples at a key early point in his life. “I always tell Mavis that she’s been with me my whole life, but actually, it was (age) 15 when I first heard the Staple Singers in my sister’s apartment in Height Asbury and it changed everything.” That was when he started finding my own voice and singing my own songs,” and Browne said he was performing his song “These Days” for no other reason than “it’s from that period in my life.”
But he had a more tangible reason for following that with another original song, “World in Motion,” for which Raitt came out to share vocals and play slide guitar. “I recorded it with my band,” he said, “but a good friend of mine had the idea getting it to Pops Staples and having him sing it, which he did in ’92. And the person who had that idea was my good friend, my sister Bonnie Raitt. I’m always revising songs, they change all the time… but this is definitely my favorite version of this song, Pops Staples’ ‘World in Motion.’”
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Jackson Browne with Bonnie Raitt – World In Motion (Jackson Browne and Craig Doerge)
The two key members of Black Pumas, backed by the house band, did their own career-making “Colors,” along with a cover and a cover — the George Clinton-co-penned 1971 Funkadelic song “Can You Get to That,” which Staples and Tweedy adapted in 2013 for the “One True Vine” album.
Closing out the first act, before a brief intermission, Grace Potter covered a song from Mavis’ solo debut album of 1969, called “You’re Driving Me (Into the Arms of a Stranger),” and then emerged from behind her keyboard to explain what Staples meant to her. “This woman, she changed my life,” Potter said. “She made me see my future self and plan ahead for the woman I would become. And I want to play you that song that I wrote after meeting Mavis.” But, she cautioned, before playing “Big White Gate” (a 2013 song written about a woman becoming penitent as she approaches death), “I want to be clear, this is not a song about Mavis, because it’s not very complimentary!”
The husband-wife duo the War and Treaty were the only artist of the night to only do one number, perhaps to the audience’s slight disappointment — but what they lacked in minutes on stage, they made up for by slaying on one of the Staple Singers songs that almost anyone would most want to cover, “Respect Yourself.”
Hozier was not the only performer of the night who’d been driven to actually name-check “Mavis” in a song, although his was not a literal tribute to Staples. He performed that original number from 2020 before covering another of the night’s cover-of-a-cover — Buffalo Springfield’s “For What It’s Worth,” which not everyone remembers that the Staple Singers did a near-instantaneous version of on a 1967 album (reaching No. 66 at the time on the Hot 100, a few years before the family group really broke big).
Trombone Shorty, a high point of Staples’ 80th birthday concert, came back to reach similar peaks for her 85th, playing “When the Saints Go Marching In” in the first half as well as sitting in with Taj Mahal and Robert Randolph for a jammy moment in the second.
Other highlights included Randolph’s “Baptize Me,” Mahal’s “You’ll Need Somebody on Your Bond,” “Will the Circle Be Unbroken ” and “Keep Your Eyes on the Prize,” McDonald’s “People Get Ready” and “Freedom Highway,” Keb’ Mo’s “Clap Your Hands” and “Have a Little Faith,” and Jones’ “To Live” and “A Hard Rain’s A-Gonna Fall.”
To answer one FAQ, the YouTube Theater event was not filmed for a planned broadcast, even though most all-star concerts put together by Blackbird Presents are; it was a true you-had-to-be-there gala.
Celebrating Mavis seems to be a quinquennial event in L.A., as it doesn’t seem all that long ago that Staples was being feted with an 80th birthday party for the public at downtown’s Orpheum, so here is already looking forward to her 90th, exact local venue to come.
Although Bonnie’s name isn’t on the poster she was there to celebrate! – Mavis Staples 85th All Star Birthday Concert – Youtube Theater, Inglewood, CA 4-18-2024
Chris Willman is Senior Music Writer and Chief Music Critic at Variety.
He joined the publication in 2018 and is based in Los Angeles. Willman began his career at the Los Angeles Times, going on to spend 13 years at Entertainment Weekly as a senior writer and critic. He has been a regular contributor to Billboard, the Hollywood Reporter and TV Guide; his work has additionally appeared in Rolling Stone, New York Magazine, Spin, Parade and other publications. He is the author of the 2005 book “Rednecks & Bluenecks: The Politics of Country Music,” cited by Stephen King as one of the three best music books of all time. Since joining Variety, he has received eight first-place honors from the National Arts & Entertainment Journalism Awards and seven from the SoCal Journalism Awards. The L.A. Press Club named him its Entertainment Journalist of the Year in 2020.
Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.
Bonnie has contributed a new recording of "Prison Bound Blues" written by Leroy Carr to a project called Better Than Jail, an extraordinary new album benefiting Free Hearts and Equal Justice USA. Better Than Jail is available everywhere today and features covers of iconic prison songs from Steve Earle, Taj Mahal,Margo Price, The War and Treaty and many more. The album seeks to raise awareness and support for the urgent need to reduce the harm of the criminal justice system. https://found.ee/BetterThanJail.
I'm so proud to have joined in with so many illustrious artists in creating this very special album in support of rural prison reform. Overlooked for far too long, this issue cuts across all cultural and political divides and deserves all our focused attention to finally bring about some swift and meaningful action. Better Than Jail is one of the most inspired and heartfelt albums I've been blessed to be a part of and I hope it sets a fire in hearts far and wide to join in our efforts." ~ Bonnie Raitt
Released on: 2024-10-04 Executive Producer: Brian Hunt Producer: Kenny Greenberg Producer: Wally Wilson Producer: Bonnie Raitt Recording Engineer: Jason Lehning at Sound Emporium Mastering Engineer: Alex McCollough at True East Mastering Production Assistant: Shannon Finnegan Mixer: Justin Niebank at Hounds Ear Music Publisher: Universal Music Corp. Composer, Lyricist: Leroy Carr ℗ Believe Entertainment Group and Wyatt Road Records
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The Fabulous Thunderbirds - Nothing in Rambling Ft. Bonnie Raitt, Taj Mahal, Keb' Mo' & Mick Fleetwood
In celebration of the band’s 50th Anniversary, The Fabulous Thunderbirds have just released Struck Down, their first studio album in eight years on Stony Plain Records. The ten-track album includes a wonderful cover of Memphis Minnie’s “Nothing in Rambling,” featuring longtime friends, T-Birds founding member Kim Wilson, along with Bonnie, Keb’ Mo’, Taj Mahal and Mick Fleetwood. — BRHQ
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Little Feat - Long Distance Call
“I’ve always loved Little Feat and this new incarnation of the band is bringing some serious heat, cred and new blood to their enduring legacy. Every Feat fan loves us some Sam. I’m so glad he’s now gotten a chance to step out front and center and put his spin on these wonderful blues songs. I loved singing "Long Distance Call" with him, always one of my favorites, and Scott slayed on slide. Know you’ll enjoy hanging out with us at Sam’s Place!" -- Bonnie Raitt
“Long Distance Call” was written by blues legend, Muddy Waters. It has Sam Clayton and Bonnie Raitt on vocals, Scott Sharrard on Dobro, Fred Tackett on acoustic guitar, Tony Leone on drums, and Michael “The Bull” LoBue on harmonica. The album also features Bill Payne on piano and Kenny Gradney on bass.
Little Feat have composed an album that’s their love letter to the blues entitled, ‘Sam’s Place.’ “Long Distance Call” plus many other blues classics are on this album. You can stream and order ‘Sam’s Place’ here: https://orcd.co/samsplace
Broken Hearts & Dirty Windows: Songs of John Prine, Vol. 2, the anticipated new John Prine tribute record from Oh Boy Records, is out today. Stream/purchase HERE.
Created as a celebration of Prine’s life and career, the album features new renditions of some of Prine’s most beloved songs performed by Brandi Carlile (“I Remember Everything”), Tyler Childers (“Yes I Guess They Oughta Name A Drink After You”), Iris DeMent (“One Red Rose”), Emmylou Harris (“Hello In There”), Jason Isbell (“Souvenirs”), Valerie June (“Summer’s End”), Margo Price (“Sweet Revenge”), Bonnie Raitt (“Angel From Montgomery”), Nathaniel Rateliff & The Night Sweats (“Pretty Good”), Amanda Shires (“Saddle in the Rain”), Sturgill Simpson(“Paradise”) and John Paul White (“Sam Stone”). Proceeds from the album will benefit twelve different non-profit organizations, one selected by each of the featured artists.
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Bonnie Raitt - Write Me a Few of Your Lines/Kokomo Blues
60 years anniversary celebration of Arhoolie
December 10, 2020
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Arhoolie Foundation celebrates it's 60th anniversary (1960-2020) with an online broadcast.
Bonnie Raitt - Shadow of Doubt
Hardly Strictly Bluegrass Festival
October 3, 2020
Hardly Strictly Bluegrass celebrates it's 20th anniversary with an online broadcast titled “Let The Music Play On”.
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Bonnie Raitt & Boz Scaggs - You Don't Know Like I Know
Farm Aid 2020 On the Road
Sam & Dave classic written by Isaac Hayes and David Porter.
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Sheryl Crow & Bonnie Raitt - Everything Is Broken
[Eric Clapton’s Crossroads 2019]
Eric Clapton, one of the world’s pre-eminent blues/rock guitarists, once again summoned an all-star team of six-string heroes for his fifth Crossroads Guitar Festival in 2019. Held at the American Airlines Center in Dallas, Texas, the two-day concert event raised funds for the Crossroads Centre in Antigua, the chemical dependency treatment and education facility that Clapton founded in 1998.
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'A Tribute To Mose Allison'
Celebrates The Music Of An Exciting Jazz Master
Raitt contributed to a new album, If You're Going To The City: A Tribute To Mose Allison, which celebrates the late singer and pianist, who famously blended the rough-edged blues of the Mississippi Delta with the 1950s jazz of New York City.
NPR's Lulu Garcia-Navarro talks to Bonnie Raitt about her friendship with the Mose Allison. They're also joined by Amy Allison — his daughter, who executive produced the album — about selecting an unexpected list of artists to contribute songs to the album.
Recorded on tour June 3, 2017 - Centennial Hall, London - Ontario Canada
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