I first heard Bonnie Raitt’s velvety falsetto on my mom’s worn Magnavox boombox when I was 10 years old. I was immediately captivated by “Give It Up or Let Me Go,” the opening track off Raitt’s 1972 sophomore album Give It Up. Her twangy guitar and genre-melding style made me an immediate fan. (It helped, too, that she was a fellow redhead.) Her music quickly became pivotal to the soundtrack of my adolescent years.
When it was announced Raitt and soul-music legend Mavis Staples were stopping by Woodinville’s Chateau Ste. Michelle as part of Raitt’s “Just Like That…” tour, I couldn’t pass up this once-in-a-lifetime opportunity to see these two legends take the same stage.
It was a humid August evening — the kind normally best spent convening around an air conditioner — but hundreds of people, like me, knew this experience was worth the sweat.
Staples, who took the stage at 7 p.m. sharp, is 83, but her recognizably rich and husky voice remains just as powerful as it was decades earlier. The Staple Singers’ frontwoman performed old favorites like “I’m Just Another Soldier” and “Handwriting On The Wall” but kept audiences on their toes with inventive, unexpected covers of Funkadelic’s “Can You Get To That” and Talking Heads’ “Slippery People” — the latter of which was a special tribute to David Byrne.
Staples unsurprisingly closed her set with “I’ll Take You There,” the Staple Singers’ most enduring hit. It might have been her umpteenth time playing it, but the performance was so spirited that even the mouth-breathing, obliviously chatty corporate types seated next to me couldn’t help but sit up and pay attention.
After a short transition period, Raitt appeared on stage in a parakeet-green blouse and her scorching red hair curled perfectly to accentuate her trademark bride of Frankenstein-esque shock of white bangs. She opened with “Made Up Mind,” the lead single off her first new album in six years, Just Like That… I was immediately struck by how little Raitt’s voice, put through 50 years of touring, had changed as she deftly navigated “Made Up Mind”’s fluttering falsettos. Raitt continued with other new-album highlights like “Waitin’ for You to Blow” — a song she described as like having a conversation with the devil on your shoulder — “Blame it On Me,” “Livin’ for the Ones,” “Just Like That,” and a few selects from her decades-running discography.
Raitt’s crescendoing setlist took a somber turn when it came time for her renowned cover of the late John Prine’s “Angel from Montgomery.” Before the song began, she shared her memories of Prine, who died in 2020, and reiterated her everlasting love for the singer-songwriter before dedicating the song to him. I didn’t notice any dry eyes within my 30-foot radius, and I’d like to think that was a testament to the power of Raitt’s timeless talent more than the contributions of the plentiful wine refills the audience enjoyed throughout the night.
Raitt closed with her career-marking hits “Something to Talk About” and “I Can’t Make You Love Me.” The audience seemed to know most, if not all the words, to Raitt’s songs throughout the night, but it was these two Luck of the Draw tracks that clearly remain the fondest in most people’s hearts. As I watched this age-spanning crowd belt along with Raitt, I reflected on how many generations she’s impacted, and how, while some music may go out of style, hers never has.
Walla Walla – Two legends performed last Tuesday at Walla Walla’s newest music venue. Gospel singer Mavis Staples opened the show, followed by blues guitarist and singer Bonnie Raitt at the Wine Country Amphitheater.
W3Concerts, with partners CMoore Concerts and Knitting Factory Entertainment is producing the first concert series on the driving range at the Walla Walla Golf Course. The gently sloped range is a natural amphitheater with excellent sound. The evening was hot, over 100 degrees; the crowd was large, with over 4,000 fans, yet it felt cool, intimate, and easy.
Mavis Staples is an American gospel singer and civil rights activist who has won Grammys, was inducted into the Rock and Roll Hall of Fame, and honored by the Kennedy Center. She joined the family’s gospel group, The Staple Singers, when she was eleven in 1950. Their music was inspirational and often political as they performed through some of the most contentious decades in the country’s history.
At Wednesday’s concert, Staples sang anthems of freedom and respect from the sixties and seventies. Listening to the lyrics, it was amazing how timely they have again become. Staples sees performing music as an act of kindness and fellowship, and her joyful spirit is irresistible. That generosity of spirit carried over when Raitt took the stage later, brimming with happiness at being able to play anywhere after years off due to the pandemic.
Bonnie Raitt and her band began playing as the sun set in the wheatfield behind the stage. Her set included blues, pop, covers, and originals. She sang personal songs written by beloved collaborators and icons, the music she carries with her. There is no way to remain unmoved when she sings John Prine’s “Angel from Montgomery.” Her recording of that song is well known, however, when she performs it live, her blues roots are evident as she sings around the tune, making it new and powerful.
Raitt told the audience that she and the tour were traveling in a tight bubble. In the age of COVID-19, an outbreak can derail a tour, and performers are careful after performing live again after the pandemic. The bubble also protects Staples, who though her strong voice belies her age, is 83.
Another action the tour took to protect its stars was to prohibit all photography. As press, I am usually allowed to bring a digital camera with several lenses to take photos of the show and the venue. Typically, at a concert, professional photographers are asked to take pictures only during a specific song, usually the second song of the set. Performers use that time to give photographers the best angles and iconic poses. During the rest of the show, the band can concentrate on the performance and the music, not on how they’ll look in a poorly timed photo.
At the beginning of the concert, the audience was also asked not to take pictures or videos. For the most part, phones seemed to be put away. There are several reasons performers ask fans to put their phones away, mainly for image control keeping unflattering photos off the internet. Another is to create an event where everyone is truly present, no selfies, no social media, and all eyes on the show. It was certainly what I experienced that night with my camera back at the office. I thoroughly enjoyed the show.
Bonnie Raitt clearly loves playing Pinewood Bowl and the 2,500 or so who made it to the Pioneers Park amphitheater Tuesday clearly love her, too.
Taking the stage at 8:15 p.m., with “Made Up Mind.” the first of a handful of songs from her new album that would turn up in the 90-minute set, Raitt then looked out at the bowl and said:
“It’s such a show for me to be in the daytime and be able to see everybody. You look great. It’s a blessing to be out in this festival-like setting again.”
So began another lovely Lincoln performance from Raitt, who cycled through her hits, played the new record and connected the audience through her music and words, spoken and lyrics.
The latter occurred touchingly when she took a seat on a stool, picked up an acoustic guitar and introduced a song “Just Like That” she’d written with her friend John Prine — a touching story about a mother listening to her son’s transplanted heart through a man’s chest.
Then came the blues of “The Road’s My Middle Name” before she strapped on her Stratocaster and pulled the crowd out of its seat with a slide-guitar rockin’ “Something to Talk About.”
It was followed by a driving new number written to honor those who died from COVID by “Livin’ for the Ones.”
Raitt acknowledged the evening’s sultry conditions early and often.
“We came in from the dressing room, which is arctic village in there,” she said after the second song. “I’m trying to keep my ‘do together. We’re not used to this heat. We’re usually dancing around up here. But we’re going to keep it chill.”
Later she talked about pulling her bus over to get lemon soft-serve ice cream on the way into the bowl earlier in the day during soundcheck.
Among the other show’s highlights were a swinging version of John Hiatt’s “No Business” and her jerky stomp blues cover of InXS’ “Need You Tonight.” and, of course, her achingly beautiful version of “Angel from Montgomery” in honor of Prine, who wrote it.
Raitt was terrific vocally from start to finish, clear, expressive and soulful and she sure can play guitar as can her guitarist Duke Levine.
As she set up for the set closer – an insistent blues rock run on Talking Head’s “Burning Down The House, Raitt made a final reference to her return to the “beautiful” bowl.
“It’s been a pleasure coming back and playing for you. That we could reunite … It’s been a pleasure playing in this heat with you.”
The legendary Mavis Staples opened the evening with 50 minutes of gospel and soul, highlighted by a deep-hearted take on The Band’s “The Weight” in which she shared vocals with her backing singers and guitarist.
Staples, who turned 83 last month, sat down a few times, resting in the heat. But her voice was there with all its gravelly strength and she was in high spirits throughout.
The veteran of the 1960s civil rights movement continued her lifelong activism with a spirited version of “My Country,” her anthem of struggle rewarded.
But she said the struggle for the country has to continue:
“I’m not too proud right now,” Staples said. “I don’t feel too good about it. I don’t like what I’m seeing. Too many guns, nobody’s doing anything about it. I’m seeing too many babies aren’t getting enough to eat. And you’ve got one guy who’s trying to stop us from voting. You can’t stop me from voting.
“If it keeps on, I might run for president myself. Vote Mavis.”
After turning “I’ll Take You There” into a call-and-response, Staples left the stage with this:
“My family, the Staples Singers, we’ve been taking you there for 74 years and I’m not tired yet. You ain’t seen the last of me. I’ll be back.”
L. Kent Wolgamott, the recipient of the 2018 Mayor’s Arts Award, has written about arts and entertainment for Lincoln newspapers since 1985, reviewing thousands of movies and concerts and hundreds of art exhibitions.
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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