Old Town Fort Collins welcomed legendary blues/rock musician Bonnie Raitt Saturday night as part of the three day Bohemian Nights Festival presented by NewWestFest.
Blues and Rock singer Bonnie Raitt headlined the second night of the Bohemian Nights Festival after a full day of musical performances by artists such as Dubskin, Analog Son, Hound Heart and more. The performance took place on the Mountain Avenue stage, which was set up at the east end of mountain avenue near Propel Labs and Western Convenience Store, with simultaneous streams of the performance casted to Old Town Square and Library Park.
Raitt’s performance started at 8:30 p.m., and lines for the venue extended up through Mountain Avenue and Walnut Street.
Raitt opened with a quick story about how she enjoyed walking around ort Collins. Raitt opened with an older classic, “Something to Talk About,” from her eleventh album “Luck of The Draw.” From there, Raitt performed a number of songs from her catalog but also covered several songs from other blues and rock artists.
The venue was divided into two parts, an area in front of the stage and back area with a large tv display that allowed the crowd near the back of the venue to get a directed view of the performance. During the middle part of the show, Raitt and her band slowed things down with a few calmer songs, but immediately following, Raitt kicked the mood up to bombastic levels.
The stage was awash in gentle blues and pinks which shifted dynamically to fit the tone of the performance, at times dark blue for somber moments before roaring back to pink to match to the more explosive songs.
started her music career in the late ’60s when she moved to Cambridge,
Massachusetts to study Social Relations and African Studies at Cambridge
University. After playing at local coffee shops, Raitt landed a record
deal after 3 years which lead to her debut titular album “Bonnie Raitt.”
Raitt went on to release several hits like “Something, to Talk About,”
and “I Can’t Make You Love Me,” along with 18 more albums over the
course of her career with the most recent entry being “Dig in Deep.”
The 2019 New Orleans Jazz and Heritage Festival brought out the big veteran guns on Sunday (April 28), with career-spanning sets from everyone from Bonnie Raitt and the Indigo Girls to Van Morrison
It’s 50th Anniversary of Jazz Fest Storytime with Bonnie Raitt at Acura Stage and she’s dropping anecdotes, music history and names like mad. “This is the greatest festival in the world for artists of all stripes,” she says from Acura Stage, and points out “it’s an endangered species,” which is sadly too true. Too few festivals do what Jazz Fest does. Raitt calls it “hallowed ground,” even, but it when comes to all the Jazz Fests she’s played (this is her tenth!) and the thick and thin of her career, well, “That’s why I don’t wanna write a book, there’s some things that I don’t even wanna remember.” She’s a font of bluesy wisdom but she keeps the set moving with “Unintended Consequence of Love” with New Orleans gadfly and pianist Jon Cleary. She introduces her longtime side men, including Hutch Hutchinson on bass, Ricky Fataar on drums and George Marinelli on lead guitar before “Need You Tonight” off her latest 2015 LP Dig In Deep.
Raitt dug deep into wardrobe to avoid being noticed at the fest or around town, where she wore a hat and sunglasses to avoid being mobbed. “I’ve heard some of the most treacherously great music the last few days” at the fest, she says. She mentions the Cultural Pavillion and dedicates “One Belief Away” as tribute to the late recently passed Oliver Mtukudzi, a co-writer on the track. Raitt covers The Fabulous Thunderbirds song “I Believe I’m in Love” with Cleary on piano and a little hip check from her to punctuate its final note.
“Damn, Cleary, you’re a mess in all the right ways!” She has kind words for John Prine as well (“having a helluva year,” she says, followed by a rueful, “It’s a miracle any of us are still around!”). It’s all by way of her introduction to “Angel from Montgomery,” Prine penned but Raitt popularized. She remarks on the 30th anniversary of Nick of Time before playing “Something to Talk About.”Then there’s a funked-up version of “Love Letter” from Nick of Time, dedicated to all the New Orleans funk greats. Too many great Raitt tunes and anecdotes to list, she winds down her set with the maudlin “I Can’t Make You Love Me.”
Raitt sat down with Billboard earlier to talk her personal Jazz Fest history, the fest’s significance and ways she sees music at the fest and around New Orleans without being noticed. “This festival changed the whole nature of festivalgoing,” she says, nodding at what set the bar for fully immersive live-music experiences in the ’70s. “There were Grateful Dead concerts, and then there was Jazz Fest. It was a precursor to Coachella and Bonnaroo and a lot of festivals were modeled on it.” If it’s changed much at all, Raitt said, it was “the volume” of it. “They need to get those headliners in there, sometimes people wish it weren’t so crowded, but it’s just the way they keep the economics of it going.”
So how has Raitt been able to enjoy it all this years without being asked for selfie every ten steps she walks? “It’s a total immersion of food and culture,” she says. “I try to plan a couple days off before, I put on a hat and be incognito and just be a fan, you know? I love just being among a swarm of people, which I don’t get at my own gigs. It’s been great to go around and pick and choose what to eat and which acts to see when. The fun part is the audience, for me, as well.”
Bonnie Raitt silencing the crowd
There were no bad parts of Bonnie Raitt’s set, and no mediocre parts; at 69 years old, the singular blueswoman remains capable only of varying degrees of transcendence, plucking which of her vast catalog of unforgettable songs she’ll breathe new life into with each respective set. At the Jazz Fest, she was joined by Jon Cleary, Ivan Neville and briefly, Boz Scaggs — Cleary and Scaggs helped her to pay tribute to Allen Toussaint with a stripped down, beautifully harmonized version of “What Do You Want the Girl to Do?,” which Raitt originally recorded a gender-flipped cover of in 1975.
But towards the end of her set, when she said she was about to play another sad song, the audience grumbled a little. Then the band hit the opening riff of “I Can’t Make You Love Me,” and any other noise seemed to disappear completely. There was only Bonnie, singing the song like it was the first time — except that she was joined, as quietly as 50,000 people can sing, on the chorus. When she finished the last refrain, for a moment she looked down with her eyes closed, seemingly feeling the heft once again of her best-known song.
LENOX — At some point during his Tanglewood shows on Monday and Tuesday night, James Taylor will bring on a surprise guest to share the spotlight before a capacity crowd of about 18,000 ardent fans.
In this March 7, 2016 photo, singer Bonnie Raitt poses for a portrait in New York to promote her new album, “Dig In Deep.” (Photo by Drew Gurian/Invision/AP)
Singer-songwriter Bonnie Raitt, an old friend of Taylor’s since they first performed together in Cambridge in 1970 when she was a Harvard junior and a newly minted blues singer, is a natural for a joint appearance, since they are about to launch a six-week national tour of 17 cities, including several baseball stadiums. They’ll be returning to Fenway Park for Taylor’s third annual appearance there — Raitt joined him in 2015.
At Tanglewood, “we’ll do a tune or two of hers, a tune or two of mine, it’s a simple guest spot,” said Taylor in a wide-ranging interview this week.
A limited number of tickets were available for the 8 p.m. shows on Monday and Tuesday, as of Saturday morning. The Independence Day performance, with proceeds donated back to Tanglewood by James and Kim Taylor, is followed by the annual fireworks show over Stockbridge Bowl.
Recalling her first gig with Taylor 47 years ago, Raitt said in an Associated Press interview, “I was nervous to play because I hadn’t really broken my chops in for concerts that much. But I was so excited. It was an honor to be both at my school and opening for him. He couldn’t have been warmer and more friendly. It was intimidating to meet one of my heroes, but he was just so down to earth.”
About to make his 25th set of appearances at the Boston Symphony’s summer home since his debut there in 1974 with Linda Ronstadt as the opening act, Taylor emphasized that “Tanglewood has been this incredible part of my professional life.”
Since the turn of the century, he has returned annually, with rare exceptions, and he credits his wife, Kim — a former BSO executive and current trustee — “for opening my eyes to Tanglewood and bringing me back here. It’s a great connection, one of the best things that’s ever happened to me.”
With keen anticipation, he discussed the upcoming tour, which begins Thursday at the Prudential Center in Newark, N.J.
“I’ve been aware of Bonnie and her music since she started,” he said. “She was an early musical friend since we performed together on Martha’s Vineyard in those great days when it was a destination for artists and intellectuals who wanted a cheap vacation. I’ve been eager to play with her some more since that first show at Fenway.”
This week, Taylor and Raitt have been rehearsing at the 17,000-seat Times Union Center in Albany, N.Y., which can accommodate the elaborate staging needed for the large arenas and stadiums where they’ll be performing, including Nationals Park in Washington, D.C., Wrigley Field in Chicago and AT&T Park in San Francisco. The tour ends at Fenway on Aug. 11.
Tanglewood audiences will get a sample of their vocal collaboration because, as Taylor pointed out, “it doesn’t have room for the staging we’ll be taking around the country, since it’s primarily an acoustic musical house.”
‘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
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.