Bonnie Raitt filled Saturday night’s concert with fine musicianship and personal charm.
TOO MANY WORDS pop into your head whilst trying to sum up Bonnie Raitt — patronizing but accurate descriptions like “adorable,” “kittenish,” “charmful armful”; overweening banalities like “guitar goddess,” “national treasure,” “talented song stylist”; awestruck platitudinals like “genius,” “artist” or “foxy mama” — but the phrase that keeps up a steady tattoo is “generous.”
Bonnie Raitt is a generous soul, and you sense it simply by the way she interacts with the audience, with the talented musicians in her touring band, with the way she interprets songs. Possibly because Raitt grew up in a musical family of Quakers, and performing was a way of sharing and expressing social conscience, there’s no superstar pomposity when she plays. Raitt plays like she’s giving you a gift from the heart. Generous.
Bonnie Raitt and her band performed last night at the Waikiki Shell – January 6, 2007
Bonnie Raitt and her band performed at the Waikiki Shell – January 6, 2007
Bonnie Raitt and her band performed at the Waikiki Shell – January 6, 2007
Bonnie Raitt and her band performed at the Waikiki Shell – January 6, 2007
Bonnie Raitt and her band performed at the Waikiki Shell – January 6, 2007
People in the audience would occasionally blurt out, “We love you, Bonnie!” as if the words rode down on a thunderbolt through their subconscious and burst out of their surprised mouths. Raitt would wink and nod. Generous? The folks in the fourth row won their seats by online auction with the money going to charity, and Raitt proudly announced that her tour ran on biodiesel, and she’d remind us, once she had us in her hand, to love the earth and to love each other. Pretty generous, particularly as she often made light of herself.
As Bonnie Raitt and Robert Cray brought their blues stylings to the Waikiki Shell, even the light stands were swaying to the music.
Although the wind and rain that plagued Wednesday night’s Jimmy Buffet concert remained, the hour-long wait to get inside was gone, despite a near-capacity crowd and a 6:30 p.m. start.
Opening was the Robert Cray Band, which has been touring for four decades — and the tightness of its set was evidence of its longevity.
Cray was supposed to be the next B.B. King, but his forays into pop music have held back that reputation in some circles.
He showed both sides last night. Tub-thumping tunes like “Back Door Slam” and “Twelve Year Old Baby” sounded straight out of the Mississippi Delta and elicited hoots from the crowd.
“Time Makes Two” was sensational, with Cray showing off his intricate fret work, and drummer Kevin Hayes picking up a set of mallets to give the song deeper resonance.
Yet, tunes like “Up in the Sky” with its Indian sitar effects on Cray’s guitar left the crowd a bit perplexed, causing them to call for Cray’s most successful tune, “Smoking Gun.”
He obliged them in his finale, showing off why he has five Grammys with a fiery close.
After a lightning-quick changeover — barely fifteen minutes — the stage was flushed with purple light as the owner of that signature mane of red hair sauntered onto the stage with her guitar slung over her shoulder.
Watching her play for the first time, only one word comes to mind: moxie.
Opening with “Show You” she waled the guitar like T-Bone Walker, but without losing an ounce of her femininity. As if to prove it, she moved immediately into the thinly veiled sexual howler “Gnawin’ On It.”
Seeing a woman in her 50s grinding that guitar around the stage while belting out those lyrics was a sight to behold. Pure moxie.
This is not to say that she only has that down-and-dirty facet.
She’s emotional. She followed up with an acoustical version of her hit “Have a Heart.” Later, she dedicated “Nick of Time” to her father, Broadway star John Raitt, whose 87th birthday was yesterday.
She’s political. Before singing her final song, she told everyone to get out and vote because that is the only way democracy works.
Earlier in the set, she made her feelings on the war known.
“This is a song about making the best out of a bad situation; let’s hope we can do that at the end of this year, if you know what I mean,” said Raitt, as guest keyboarder Jon Cleary began the haunting notes of “Silver Lining.”
She’s educated. A Radcliffe grad with a degree in African studies, Raitt brought Zimbabwean rhythms into the plaintive “Hear me Lord.”
Finally, she’s a professional. Even when her monitor was blowing out her eardrums because of a problem with the kick drum, she calmly asked them to fix the problem while she picked up her acoustic guitar and played the bluesy “Love Me like a Man” and the folksy “Angel from Montgomery.”
Once the technical difficulties were solved, she turned the volume back up with crowd favorite “Thing Called Love.”
It has been 30 years since her first show at the Waikiki Shell with Jackson Browne, but I’ll flat guarantee that she hasn’t lost any of that fire. And the thousands who braved the rain to see her were warmed by it last night.
The blues & Bonnie Raitt
When it comes to musical legends, Bonnie Raitt is the real deal. Slide guitarist and vocalist Bonnie Raitt mixes political and social causes into her musical career. In Hawai’i, she has done benefits for Hurricane Iniki victims and for Hawaiian language preservation. Raitt, 54, hit the big time after two decades playing for a loyal core of fans. First and foremost, she is one of the most naturally gifted female slide guitarists the blues genre has ever produced. The owner of a warm, smoky growl of a voice that has charmed hardcore blues fans and mainstream rock fans alike..
Bonnie Raitt is telling a childhood story about selling Girl Scout cookies on Sunset Strip near the Whiskey A Go Go: “I always would see this guy who had MS sitting on a cart selling newspapers,” she says during a phone interview from her Hollywood Hills home. “He would come by and talk. He was very nice, very sweet.
“So I was driving by there a couple years ago, and I saw him, still there, doing that gig, and it made me so happy that he was around, surviving, making a living despite his hardships.”
It’s a story that seems fitting for this queen of blues-rock, who might turn it into a song about survival, community and the warmth of familiarity.
Like the man, Raitt, 54, understands hardships, although she admits hers — alcohol and drugs — were self-inflicted. She has been sober now for years and says, “I love my gig, my life now.”
Raitt will perform on Maui tomorrow and Oahu on Thursday, in her first concerts in the islands in more than a decade.
“I spent enough years being unhealthy,” she said. “Whatever brain cells I still have and joints that are still moving, I want to take care of. I want to kick ass when I’m 80.”
In a Star-Bulletin interview back in 1992, Raitt seemed defensive, pensive, wary and uneasy. This time around, she’s downright chirpy, conversing as she might with a friend, talking openly about her wounded heart and unabashedly sharing her political views.
“I am enjoying very much being single, taking this little break,” she says. “Being in my 50s is the best part of my life.
Bonnie Raitt
With the Robert Cray Band and Jon Cleary
On Maui: 6:30 p.m. tomorrow, A&B Amphitheatre, Maui Arts & Cultural Center. Tickets are $37, $45 and $55. Call 808-242-7469. On Oahu: 6:30 p.m. Thursday, Waikiki Shell. Tickets $25 to $55, available at the Blaisdell Arena box office and Ticketmaster outlets. Call 591-2211.
“I never expected that all I went through — losses, heartbreak, marriages dissolving — that I would emerge at this mountaintop clearing, whether it be sobriety or therapy or single again, to have the best, best time of my life.
“I couldn’t have made the changes any earlier than I did. It really was an incredible revelation that out of all that trouble could come this silver lining.”
RAITT’S most recent album is a compilation, “The Best of Bonnie Raitt on Capitol 1989-2003,” her 17th. “Silver Lining” is the title of her most recent studio album, released in April 2002.
Born to a musical family, the nine-time Grammy winner is the daughter of Broadway singer John Raitt and pianist-singer Marge Goddard. She was raised in a climate of respect for the arts, Quaker traditions and a commitment to social activism. A Stella guitar given to her as a Christmas present launched her creative journey at age 8.
Asked about a poignant line from the song “Silver Lining” — “Only things worth living for are innocence and magic, amen” — Raitt’s voice quivers a bit.
“I just got goose bumps when you said it,” she said. “That song is an inspirational piece of music, spiritual to me.
“The whole message is that if something isn’t working, change it and get yourself back to some childlike wonder.”
It sounds like Raitt has rediscovered her inner child.
“What’s fulfilling and nurturing for me is the incredible renewal of nature, family love, all those small utopias,” she said. “There’s real magic in things like prayer and miracles, even when you can’t figure how they work. Magic sometimes is disguised as coincidences, God’s way of staying anonymous.”
Raitt lived in Los Angeles until she was 16 and the family moved east. Several years later she returned to Hollywood, landing in the hip neighborhood of Laurel Canyon.
“You know, back then in L.A., when you’ve become an adult and you can drive anywhere, it’s so totally great. God, listen to me say ‘totally,'” she says, laughing. “The L.A. scene in the early ’70s with Little Feat and the Eagles and Tom Waits at the Troubadour was as cool as Greenwich Village in the ’60s.”
Raitt’s hangout was a popular hamburger hangout for musicians and actors called Dukes on Santa Monica Boulevard. “It was a great place to go if you were hung over — not that I ever was. I was always as fresh as a daisy — up at 5 each day. Of course, it was 5 o’clock in the afternoon.”
“I spent enough years being unhealthy. Whatever brain cells I still have and joints that are still moving, I want to take care of. I want to kick ass when I’m 80.”
–Bonnie Raitt
One of the reasons Raitt chose the blues is because it allows her to express a buffet of emotions. “The blues is so real, and if you’re singing the truth, it doesn’t make what difference your income bracket or color is, you get it, and that’s what it’s all about. You’re supposed to be way into any song you’re singing.”
Raitt’s built a career out of singing about her life, how she’s treated and what she longs for.
“That’s what the songs have been about, whether they’re Celtic or African or Gypsy music. The form and the specific words may change, but anger, jealousy, hurt and loss are all there.
“That whole argument about ‘How can a white girl sing the blues? How can you have validity?’ Well, I have yet to meet somebody who doesn’t have real pain.”
Other female singers may retool their image, but Raitt has avoided that. That’s been easy because, she says, “I’m not a babe.”
“I don’t have those kind of looks,” she said. “Maybe if I looked liked Pamela Anderson, I would have played that card, but my sexuality is more earthy.
“I see myself as a character actress rather than the leading lady. It allows me to connect better with people, and I’m not dependent on looking young.”
That doesn’t mean sex isn’t as important to her. “I didn’t get any less sexual turning 50 — if anything, I’m more.”
Eros even comes to play when she’s figuring out her concert set lists and album-track sequences. “You almost plan how you plan to make love to someone,” Raitt says, unabashed. “You start over here, then move over there, then down a bit, now take a breather — OK, now let’s come back to it.
“It’s an art to decide the way you play your emotions and those of the listeners. It allows me to really get into every song, or it wouldn’t work for me. Every aspect of emotions is covered — longing, anger, jealousy, sexiness, broken-heartedness. … In what job do you get to do that in two hours?”
This is why Bonnie Raitt hit her stride in her 40s, when most other female media creations are taking long sabbaticals at the plastic surgeon’s. The blues values wisdom over callowness, allowing Raitt to act her age and still express more power than ever.
AFTER SIGNING on with Capitol Records in 1989 (after her longtime career-making stint with Warner Bros. Records), Raitt won four Grammy Awards in 1990 — three for her “Nick of Time” album and one for her duet with John Lee Hooker on his comeback album, “The Healer.” After that, ’91’s “Luck of the Draw” produced two hit singles, “Something to Talk About” and “I Can’t Make You Love Me,” adding three more Grammys to her shelf.
The double platinum-selling “Longing in Their Hearts” (1994) featured the hit single “Love Sneakin’ Up on You” and won a Grammy for Best Pop Album.
In 2001 she went back to the studio with her veteran road band to record “Silver Lining,” considered by many critics to be one of the best albums of her career.
“They stopped playing my records on VH1 and regular radio about 1995,” says Raitt, who is in the Rock and Roll Hall of Fame. “These days, to get played or stay noticed, you have to do tons and tons of interviews and really work it.
“I am a pantheon in that people will always know me, but there is such ageism in this business.
“I really respect artists who continued to work as they got older, like Georgia O’Keeffe, Imogen Cunningham and Louise Nevelson. In music there’s Etta James, Sippie Wallace and Aretha Franklin. Mentoring is a great part of the artistic process.”
She remains politically active and did a benefit for Democratic presidential hopeful Howard Dean last December and another earlier this month for Dennis Kucinich in Austin, Texas, where she performed with old friend and former “crush” Michael McDonald.
“One time, like 26 years ago, I made him come back three days in a row to get a part right on ‘Runaway,’ and eventually he said, ‘Bonnie, I got the part right, and I know why you want me to come back. I like you, too, but let’s just call it a day.’
“We were both with other people, but I had a big crush on him and I said, ‘Wait a minute! I have one more outfit to wear.’ You would have thought I was 18, not 28.”
This exuberance for life, love, friends, family — and former crushes — leads Raitt to announce that she’s “just midway” through her career and plans to keep on going for two more decades. Just as quickly, she switches the conversation to the Hawaii visit.
“Here’s what I’m nervous about,” she says, almost whispering. “Between Thanksgiving and Christmas, I let my eating program go. We, like, ate for nine days, but normally I’m not in a bathing suit, so I don’t worry about a few extra pounds. But now I’m so paying for it.
“I’m gonna have to get a full-body sarong and tie it over my head so no one recognizes me. I don’t want to get arrested for negligence.”
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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