just like that tour 2023

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Review: Goosebumps, hankies and a standing ovation for an emotional but tired Bonnie Raitt in Minneapolis
It was the first theater appearance in the Twin Cities in this century for the longtime Minnesota favorite.

on October 12, 2023 No comments
By Jon Bream

Bonnie Raitt is one of us. Well, almost. We sure treat her like she is. And she reciprocates.

“I get emotional when I’m here,” she said on Wednesday night at the sold-out State Theatre in Minneapolis.

Then the memories started flooding in.

“The Triangle Bar, the Joint, the Cabooze,” the Rock & Roll Hall of Famer said, naming some of her old West Bank haunts. “They’re in my Rolodex of the trouble I caused. I came to roll around in joy for the five decades I’ve been coming here.”

By now, you’ve probably heard the back story. Ever since recording her debut album on Lake Minnetonka in 1971 with producer Willie Murphy, the California singer/guitarist has been a regular visitor to the Gopher State. Especially when her late brother Steve, an engineer/producer, lived here for three decades. She would come here to water ski, hang out and listen to live music.

On Wednesday, the chatty Raitt conducted a roll call of all her musical friends who were at the State Theatre: Maurice Jacox, Bobby Vandell, Melanie Rosales and Ricky Peterson, who has toured in her band.

Raitt, 73, has performed dozens of times in the Twin Cities — from her debut at the Whole Coffeehouse at the University of Minnesota to big gigs at Xcel Energy Center and the State Fair (eight times at the grandstand, 1990-2016). Last summer, she rocked the new Ledge Amphitheater in Waite Park, near St. Cloud.

Bonnie Raitt performs at the State Theater on Wednesday, Oct. 11, 2023 in Minneapolis.Bonnie Raitt performs at the State Theater on Wednesday, Oct. 11, 2023 in Minneapolis.Glenn Patscha performs at the State Theater on Wednesday, Oct. 11, 2023 in Minneapolis.Duke Levine performs at the State Theater on Wednesday, Oct. 11, 2023 in Minneapolis.Bonnie Raitt performs at the State Theater on Wednesday, Oct. 11, 2023 in Minneapolis.

© Tony Nelson /Special to the Star Tribune

Surprisingly, the road warrior hasn’t appeared at a Twin Cities theater in this century. The last one was the Orpheum in 1998, not counting a 2013 charity gala at the Minneapolis Convention Center. The ever-popular star’s concert Wednesday at the 2,200-seat State Theatre sold out well in advance. (She probably could have filled it for a second night.)

It was the penultimate show on a two-year tour, and, frankly, Raitt seemed a little tired. While she was emotional in her conversation, she was maybe less so in her singing.

There were winning moments, though, including a bluesy and brooding treatment of Bob Dylan’s “Million Miles,” the bluesy, jazzy, Mose Allison-evoking “Blame It on Me” with Glenn Patscha’s crying organ, and her own acoustic guitar ballad “Just Like That,” a rivetingly poignant true story about a woman who lost her 25-year-old son but got to hear his heart transplanted in another man. (Raitt did not mention that “Just Like That” won the Grammy in February for song of the year and the Americana Music Award last month for best song.)

By contrast, Raitt’s version of INXS’ “Need You Tonight” (which she dedicated to the TC Jammers band at Bunkers) lacked its usual lusty vibes, and she and her four-man band’s timing was off during “Something to Talk About,” her frisky 1991 hit. However, the group found its groove when Raitt and veteran Boston guitarist Duke Levine, who signed on just last year, jammed briefly on the reggae-flavored “Have a Heart,” another early ’90s tune.

The 13-time Grammy winner explained that she gets verklempt whenever she sings “Angel From Montgomery,” John Prine’s remarkable reflection of an older woman stuck in a bad marriage that she recorded in 1974. On this night, it was seasoned with Levine’s mandolin and Patscha’s elegantly mournful piano before Raitt delivered the last vocal line with a hauntingly painful ache in her voice. Goosebumps, hankies and a standing ovation.

To change the mood, Raitt and her band — with its terrific and longtime rhythm section of bassist Hutch Hutchinson and drummer Ricky Fataar — tore it up on Talking Heads’ “Burning Down the House.”

For the encore, Raitt downshifted to the ultimate heartbreaker, “I Can’t Make You Love Me,” her momentous 1991 piano ballad. When she raised her voice on the final chorus, the crowd cheered loudly. Patscha offered a sorrowful piano passage with a little classical flourish for the coda.

Raitt was so overcome that she told her band, “I can’t sing another sad song, guys.” So she skipped the planned piece on her set list and instead moved into the hard-charging 2003 boogie “Gnawin’ on It,” featuring opening act Roy Rogers on acoustic slide guitar. Finally, some genuine guitar fireworks as the two friends exchanged smokin’ slide passages.

For the finale, “Never Make Your Move Too Soon,” a Crusaders tune made famous by B.B. King, Raitt brought out Ricky Peterson from the audience. Currently part of Stevie Nicks’ band, Peterson unleashed some seriously funky organ that prompted Raitt to start dancing and jamming on guitar with Rogers. The giddy redhead looked like she was having as much fun as she did on the West Bank back in the day.

“I wish I could stay here for a month,” Raitt declared during the encore. Alas, she has one more show on the tour — “Austin City Limits,” television’s long-lived live music program.

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Source: © Copyright StarTribune

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Bonnie Raitt leaves SOEC crowd mesmerized

on September 23, 2023 No comments
JAMES MILLER / Managing Editor

The highly-anticipated Bonnie Raitt show in Pentiton easily lived up to its expectations.

The 13-time Grammy Award winner played to a sold-out South Okanagan Events Centre, Friday, combining a greatest hits show with numbers from her most recent album, Just Like That, winner of three Grammys at the 2023 ceremony in February.

Backed by four musicians with a playing time of one hour, 50 minutes, what sticks out in my mind was how well behaved — almost subdued — the audience was. Opening act, Royal Wood, had the undivided attention of the audience, something rare for an opener. When Raitt took the stage at 9 p.m., there wasn’t much singing, dancing and unnecessary chatter, the crowd seemed mesmerized.

It’s not that they weren’t appreciative. The 73-year old Raitt, received five standing ovations, the first came before she played a single note.

She made references to political issues including praise for Canadians on truth and reconciliation. She had a flag of the Ukraine on stage lending her support to the people of the Ukraine. She quipped about “the election” in the States. Some forget that Raitt, before she became a household name, was better known for her activism in the late 1970s than her music (No Nukes with Jackson Browne and others.)

Much of the night’s material came from Nick of Time, her 1989 comeback which was her tenth studio album. It reached No. 1 on the Billboard charts at the time of hiphop, grunge and boy bands. She was hardly an overnight sensation.

Unfortunately for Raitt, Nick of Time won the Album of the Year Grammy for producer Don Was in the same year that Milli Vanilli won Best New Artist. No explanation required.

Back to Friday’s show.

Raitt handed out praise for many of her collaborators, mainly John Prine, who died of COVID during the early days of the pandemic and “my favourite Canadian” Shirley Eikhard, who wrote Raitt’s biggest chart success Something to Talk About. (Eikhard died last December of cancer at age 67.)

That song came surprisingly early in the night as she saved her signature song (for die-hard Bonnie Raitt fans) Angel From Montgomery by Prine, a song you never get tired of hearing, until the end of the show.

As one of three encores, she invited Royal Wood back on stage (nice touch) for a song by another Canadian, Lovers in the Dangerous Time by Bruce Cockburn. Awesome!

She even hinted that she’d like to return to Penticton. According to a website of set lists, her performance in Penticton ran overtime from others earlier in the tour.

As for Wood’s set, although extremely mellow, the Toronto musician has a beautiful voice, is a good storyteller and was accompanied by three skilled musicians.

For those who missed Friday’s show, Wood will be playing solo at The Dream Café in the New Year. As for Raitt, to have a better idea of the quality of her live shows, check out her 1995 live album Road Tested.

The Canadian leg of the Just Like That tour now moves to Alberta and Saskatchewan for a series of dates before closing at Massey Hall in Toronto on Oct. 6.

Source: © Copyright Penticton Herald

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Bonnie Raitt review – a blues fireball in full bloom

on June 4, 2023 No comments
Emma Garland

London Palladium
With typically charismatic fervour and to a star-studded audience, the master of heartbreak brilliantly honours her singular path through modern music.

Dexterity …Bonnie Raitt at the London Palladium – June 3, 2023 © Antonio Zazueta Olmos /The Guardian

Guilty!” a lone voice cries out from the back of London Palladium, where blues legend Bonnie Raitt has just introduced a song for those who have experienced heartbreak. The voice speaks for everyone in the venue, and the song is I Can’t Make You Love Me – a ballad which Raitt transformed into the most universally shattering song about a breakup this side of Roy Orbison.

It’s one of many songs tonight where Raitt’s laidback-but-rip-your-guts-out take on classic themes of love and endurance is in full bloom. In front of a star-studded audience of peers including Joan Armatrading, Raitt runs through hits (Nick of Time, Something To Talk About, Love Sneakin’ Up On You) and covers (Angel From Montgomery, BB King’s Never Make Your Move Too Soon, INXS’s Need You Tonight) that underscore her fluent dexterity and the connective tissue of roots music. Each song is a homage to those who have come, or sadly gone, before her, with numbers dedicated to late friends and collaborators including Zimbabwean musician Oliver “Tuku” Mtukudzi and John Prine.

For her own part, Raitt, 73, has had an extraordinary trajectory. A California-born musician with west coast cool and a passion for the Delta blues; a bedroom-taught slide guitarist and one of few female players in a lineage of luminaries from Robert Johnson to Lowell George; an early voice in the anti-war movement and continued champion for social justice; the unexpected winner of the 2023 Grammy for song of the year over modern titans such as Beyoncé and Taylor Swift.

Not even her hair, glowing fireball-red under the house spotlight, has lost its intensity, and her natural charisma and graceful determination are as captivating as ever. Her voice, rich and smoky from years of experience, carries stripped-back numbers like Back Around and Just Like That. Faultless guitar playing shines on beer-soaked rock tracks No Business and Livin’ for the Ones, and she steps further towards the audience to perform these with a confident smile, concluding by slamming the body of her signature Stratocaster into her hip.

This music has deepened with age – it now feels as timeless and worn-in as a horse’s saddle, and it takes everyone along for the ride (including a woman who keeps getting a slap on the wrist for jumping out of her seat to whoop and clap like it was a Baptist service). Raitt’s career has been a road less travelled, and yet her performance style makes that journey seem effortless.

At Bournemouth Pavilion, 6 June, and touring.

Bonnie Raitt at the London Palladium June 3, 2023 © Karen Roche

Source: © Copyright The Guardian

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