Concert Review: Robert Plant & The Sensational Space Shifters, KC 9/10/18

2692037b / USA - Sensational Space Shifters Concert

*Photo from the internet, credited to The Telegraph and likely copyrighted

“Kansas City, here I come…” Robert Plant, September 10, 2018

The Rock Chick and I had been on the road for a little R & R the last four or five days. We’d been barnstorming around Florida, partying like escaped, pirate convicts. I knew we’d be exhausted by the time we got home on Monday, September 10th, but when I saw Robert Plant was coming in concert at the beautiful, historic Midland Theater, I knew we’d have to suck it up. After a brief but – and I don’t say this word often – lovely opening set from violinist/singer/multi-instrumentalist Seth Lakeman, who joined the Space Shifters for their set, we were all anxiously awaiting the man himself, Robert Plant.

I hadn’t seen Plant solo since the tour in support of Dreamland. I did see him with Alison Krauss when they toured together and it was fabulous. I can’t believe it’d been almost 10 years since I’d seen him. When the lights came down, and the band walked on stage, Plant, looking fit and dressed all in black, hung back in the shadows, near the drum riser. He danced around the stage like a prize fighter before the championship match… I couldn’t take my eyes off of him…with his long hair and full beard he looks like a grizzled lion. The band launched into the opening track, “New World…” from their great album, last year’s Carry Fire LP Review: Robert Plant, The Sensational ‘Carry Fire’ and Plant stepped to the microphone… and he unleashed…the voice. Wow, can he still sing. In the back of my mind I always wondered if he wasn’t getting back with Led Zeppelin because he wouldn’t be able to hit those notes. I was terribly wrong about that. I mean, sure, it’d probably be hard for him to do “The Immigrant Song” at top banshee wail every night (who could?), but his voice is as strong as ever. He could go from a whisper to a Viking wail in one breath. On stage Plant’s charisma is palpable. Not just the voice, the looks on his face, the dancing, the hand gestures, it’s all amazing. He’s truly still one of the best front men, ever. And from all appearances last night, he’s having a blast.

When I see an artist like Plant it gets me thinking. I don’t think rock and roll was ever originally conceived with longevity in mind. When it came along in the middle 50s, built on post-war teen rebellion, I think people thought it was just a fad, and it’d fade away. No one ever imagined that a man who just turned 70 could walk out on stage and still captivate an audience. But therein lies the horns of the dilemma for Plant – how does someone like him balance past glories with the adventure of new creativity. How do you blend your past with your present without being trapped by it. And lets face it, Plant’s past, namely Led Zeppelin, casts a big shadow. I thought Plant and the Space Shifters – Justin Adams and Skin Tyson on guitars, Dave Smith on drums, Seth Lakeman on violin, Billy Fuller on drums, and John Baggott on keyboards – do a great job of blending the old with the new. Plant spends half his set playing Zeppelin tunes, and half on his solo career.

Plant and the band seem to shift back forth, past to present, seamlessly but there are moments where I fear the crowd doesn’t quite make that jump. When Plant would try to speak before songs, like when introducing “Gallows Pole,” which was sped up last night and played like a psychedelic hoe-down, he was explaining it was a Leadbelly song… Some idiot screamed, “We love you Robert!” To his credit, Plant gave a somewhat exhausted, “Yeah, yeah, I know.” During one of the most beautifully sung moments of the night, the band had gone quiet and Plant was softly singing a passage of “Please Read the Letter” (a Page-Plant track that he’d redone with Alison Krauss and he described as a song being written by two “up and coming songwriters,” in his funniest line), some crazy, fucking idiot chick in front of me, screams, “You’re incredible” at the top of her lungs… ruining the moment in the song. The look on Plant’s face was telling… mild frustration, surprise, and a long way from pleased. It’s not 1972, honey. Sober up and let the man sing a ballad. Despite all that, Plant remained charming the entire night. His between song anecdotes were always enjoyable.

At this stage in his career, it’d be easy for Plant to reunite with Jimmy Page and John Paul Jones and travel the world singing songs from the seventies. It’s obvious to me that Plant doesn’t care about that fame and fortune thing any more. For him, it appears, the joy is in the discovery and exploration of the roots of all music. He blends folk, rock and roll, Middle-eastern and African rhythms into one big, new whole in his latest music. That’s why I love it. He sees the commonality of a Celtic folk song and something that springs from the Appalachians to something that’s from the bazaars of Morocco. He’s searching and in that search he’s creating some of the most interesting music of his career. The fact that he can deliver that AND old Zeppelin classics over the course of one evening is mind blowing.

As I mentioned, they opened up with “New World…” and carried on playing new tracks, the rocking “Turn It Up” from lullaby…And The Ceaseless Roar proved the night was not going to be a mellow affair. “The May Queen” his first single from Carry Fire was next and it was spot on. One has to give a special shout out to Adams and Tyson on guitars. They go from acoustic to blasting electric as effortlessly as Plant goes from quiet to loud. By song four, Plant had dug into the Zeppelin catalog when they launched into “Black Dog.” What I loved about it, the band and Plant played it perfectly, down to the call and response vocals, until the end where they stretched it out and jammed a little bit more in the style of Carry Fire than Led Zeppelin IV and then brought it right back to sounding like Zeppelin. It was like watching musical gymnastics. I will admit, the band did tend after that to stretch most songs out toward the end and I get it, when a band is grooving they like to jam, but if they’d cut a few of those jams short, they could have fit a few more songs in… I saw in Europe they were opening with “When the Levee Breaks” and were also doing “Rainbow” and I would have enjoyed hearing one or both of those versus the jams, but I’m splitting hairs.

After “Black Dog,” Tyson and Adams huddled on the side of the stage with an acoustic guitar and mandolin, respectively… Plant sang “Going to California” in what was perhaps the most beautiful moment of the night. I don’t mind admitting, I got goose bumps and tears welled in my eyes. I have no idea why I reacted that strongly, the performance just moved me. After that they played the Rock Chick’s favorite “Please Read the Letter” which was only marred by the aforementioned drunk idiot, and then the sped up “Gallows Pole.” It was then that Plant played “Carry Fire” the beautiful, Middle-Eastern flavored title track from his last album. I don’t know how Justin Adams was able to make the sounds he was making – it looked like he was playing a 12-string dobro, but I’m not a instrument genius. It was a real highlight for me.

The moment that brought the house down was the next track, from all the way back on Led Zeppelin I, “Babe I’m Gonna Leave You.” Skin Tyson sat down and played a beautiful acoustic solo intro that eventually led into the song. It was musically gorgeous. The band muscled into the electric portion of the track and the crowd, including me, went wild. After the exotic “Little Maggie” the band played an old Bukka White song, “Funny In My Mind, (I Think I’m Fixin’ To Die)” from Dreamland. While I love the song, they sped it up and played it almost in a Johnny Cash train-song style that lost me a bit. It went on for a long time.

The encore was a complete surprise and delight when they came out and played “In The Mood” from 1982. Plant typically eschews music from his first few albums so I was delighted they played one of the Rock Chick’s favs at the show. It was played more in the Plant-Krauss style, all natural instruments, piano/violin/great vocals, than the original synth version. It was smile-inducing pleasure. With that, it was time for the big jam – “Bring It On Home” which led to “Whole Lotta Love.” There was a weird interlude where they sang some song about heading down to the Gulf of Mexico… and then it was back to “Whole Lotta Love.” The crowd, who had been ready to release their Zeppelin mania in a guitar frenzy orgasm, seemed satisfied at last.

We were spent, but the Rock Chick looked up at me and said, “I’m tired, but that was awesome…” Plant waved to the crowd and said, “Remember what you heard tonight… see you next time, at least I hope so….” And right before left, he turned back and quoting the same song he’d quoted at the beginning of the night said, “Kansas City, here I go…” And with that the Legend, Robert Plant and his band left the stage.

I say this all the time, buy the ticket, see the show, folks. It was an enthralling evening of rock and roll. These artists are treasures and they ain’t gonna be around forever. I believe Plant when he says, “I carry fire for you, here in my naked hand…” He’s carrying the fire of rock and roll.

LP Review: Robert Plant, The Sensational ‘Carry Fire’

robplant-920x584

It was early my freshman year of high school when Led Zeppelin’s final album, ‘In Through The Out Door’ came out. Say what you want about Zeppelin’s swan song, it’s still amazing that they could put out that kind of quality record when the drummer was a raging alcoholic and the lead guitarist was strung-out on heroin. Ah, the 70s. ‘In Through The Out Door’ ushered in a different kind of vocal from Robert Plant. He wasn’t the shrieking banshee of ‘Zeppelin II’ any more, he was actually singing. Purportedly, Bonham and Page felt ‘In Through the Out Door’ was too “mellow” and were making plans for a more rocking follow-up when Bonham sadly passed away. For my part, I think “In The Evening” is a great rock tune. When your guitarist is sitting in a dark room with only a candle for light, comatose on heroin, it’s hard to put together an album that sounds like ‘Presence.’

At my high school, there was a group of guys who put up a sign-up sheet in the lunch room when Zeppelin announced their US tour. The guys had arranged to rent a bus that would take anybody who had the money up to Chicago, the nearest concert venue that Zeppelin was to play on that tour. Zeppelin rarely played Kansas City… there was a story, probably apocryphal that they’d been booed off staged early in their career in KC and they eschewed returning. I heard that same story about Bad Company, so who knows. Anyway, I can remember the dejected look on the faces of the guys who rented the bus when the news of Bonham’s sad passing was announced by our high school, lunchtime DJ. They had been so close to seeing Zeppelin, yet so far. I’m still surprised they let us play music in the lunchroom, my school was run by fascists.

And so, with a foolish, massive intake of vodka, Led Zeppelin, a pillar of 70s rock ‘n’ roll and well, rock ‘n’ roll in general, had toppled. I felt like I’d missed a great party… well, not missed, but only managed to get in on the tail end of the party, after all the pretty girls had left. I was, however, consoled in 1982 when Plant emerged with his first solo album. Those of us of a certain age still love ‘Pictures At Eleven.’ Plant’s singing on that record was more akin to what he did on ‘In Through The Out Door.’ Anybody looking for “The Immigrant Song” style of singing from Plant should have known back then, it wasn’t happening. “Burning Down One Side” is one of Plant’s best rock tunes… “How could I fall, without a show…” is a lyric that I only understand on a visceral, non-intellectual level, yet still love.

Thus began, for me, a life long devotion to the solo music of this brilliant artist. There is very little in Plant’s career that I could say I don’t like. I wasn’t crazy about his side-project The Honeydrippers but only his album ‘Shaken N Stirred’ could be described as missing the mark (way too much synthesizer). I love that Plant has gone through different phases of his career. He’s always searching, always testing his limits. He’s collaborated with different musicians at different times, always tinkering with his sound and approach. If that’s not the hallmark of an amazing artist, what is?

After a brief reunion with Jimmy Page for the Page-Plant albums and tours, both of which I saw (and was amazed by), Plant returned to his solo career with a covers album, ‘Dreamland.’ Despite it being mostly covers, I loved ‘Dreamland.’ It marked another evolution in Plant’s vocals. They started putting his voice right up front and augmenting it with more nontraditional, world-music kind of sounds. That sound carried through the exceptional album of originals, ‘Mighty Rearranger’ and led to the ‘Raising Sand’ project with Alison Krauss. ‘Raising Sand’ was a lot more successful than I think Plant was prepared for. If his reluctance to get Zeppelin back together is any indication, I think Plant shies away from the expectations to out-do his past… I doubt we see him do anything else with Krauss on a major scale ever again, much like Zeppelin.

Since the Plant-Krauss thing Plant simply returned to releasing great solo albums. ‘Band of Joy’ was produced by the lead guitarist of the Krauss album, Buddy Miller and boasted a  great harmony vocal from Patty Griffin. Band of Joy was the name of Plant’s first band with Bonham and the album by that name was Plant looking back to rootsy covers. I really thought that was a great, overlooked album. He followed that up with 2014’s ‘lullaby…and the Ceaseless Roar,’ an exceptional album. ‘lullaby’ is the type of album this blog was founded on: a great, latter day album from a more mature artist that’s criminally overlooked. The first single from that record, “Rainbow” is one of my all-time favorite Plant tunes… although even I’ll admit, that’s a long list. The man has a golden voice.

I mention the album ‘lullaby…and the Ceaseless Roar,’ because the sounds on that album really inform Plant’s stunning new record, ‘Carry Fire.’ His backing band, the Sensational Shape Shifters is back – Skin Tyson, Justin Adams on guitar, Dave Smith on drums, Billy Fuller on bass, John Baggot on keyboards and (the secret weapon in the band) Juldeh Camara on West African instruments. Plant and his band are pulling together American roots music, folk, traditional Welsh, African, rock and roll and “world-music” into a swampy gumbo of sound. As has been the case since ‘Dreamland’ Plants vocals are right up front in the mix, where they belong.

It’s easy to describe Plant’s music as a little mellower or quieter nowadays, but again, when you compare most music to say, ‘Physical Graffiti’ it’s probably going to sound mellow. The first single, “The May Queen” (reviewed earlier, Robert Plant: “The May Queen,” The New Song From The Upcoming ‘Carry Fire’) is wonderful up-beat acoustic number not dissimilar to “Gallows Pole.” It’s a perfect introduction to this music. The pace quickly picks up with the rocking guitar crunch of “New World…” You quickly realize on first listen, this album is special.

Plant then takes a huge left turn with the ballad “Season’s Song” which reminds me of the lush “Song To the Siren” from ‘Dreamland.’ Love remains the topic on the next track, “Dance With You Tonight.” All four of these tracks go in different sonic directions yet it’s all held together as a whole by Plant’s vocals… I just love where his voice is right now. He even manages a touch of politics in the topical “Carving Up the World… A Wall and Not a Fence.” I love Plant’s hippy, 60’s vibe. He’s like that cool  hippy uncle who let you drink beer before you were legally able to.

“Keep It Hid” is an atmospheric number that just seems to get better with each repeated listen. I love the guitar solo on that one…  “A Way With Words” is another piano driven ballad with a honey sweet vocal. The title track, “Carry Fire,” in another stylistic turn, has a middle eastern vibe that makes me feel like I’m sitting in a hashish den in Morocco with Plant while exotic women dance in veils around us… but that just might be me.

There are guitar driven songs here, like “New World…” and “Bones of Saints” that I think rock. Again, it’s not “Misty Mountain Hop” but they are rocking tunes. Plant’s vocals drop an octave and it’s hold on til the finish line time… The way Plant sings, “No, no, no, no, no, no no” in the latter track just grabs me…that and he name checks a Robert Johnson track, “Last Fair Deal Gone Down.”  With Plant, some of the non-verbal, singing, where he just holds an “o” or moans is as effective as when he’s singing words, if that makes any sense. He is probably the most charismatic singer I’ve ever heard. I don’t mean his physical presence when I speak of charisma, I’m talking about the sound of his voice. It’s an intoxicating, seductive instrument.

The album ends on another atmospheric, almost dark track, “Heaven Sent.” When Plant sings the lyric, “There’s an angel at the gate, singing a stolen kiss,” he could be singing about himself.

This album is great from start to finish. This is definitely a must-have record and for those of us down at B&V, it’s a candidate for album of the year. It’s a huge deal when an artist of the heft and talent of Robert Plant puts out a record. Everyone should hear this album. I can only hope I get a chance to catch him when he tours…No renting a bus this time around… Turn this one up and enjoy.

 

Robert Plant: “The May Queen,” The New Song From The Upcoming ‘Carry Fire’

robplant-920x584

“It’s just a spring clean for the May Queen…” – “Stairway To Heaven,” Led Zeppelin

I am consistently amazed and impressed that artists can still surprise me. My corporate overlords had me traveling this week, as usual, and while suffering through the interminable wait for my flight home, I started checking out what the kids call, “the social media.” There were several indications that Robert Plant was up to something. His website had gone dark. It was literally just a black page. If you remained on the website long enough, letters started to rise to the surface, like a body floating to the top of a lake. Eventually the letters spelled out the phrase, “A Way With Words.” This was merely 48 hours ago…

The music press immediately began to buzz about a possible new album from Plant. I’ve been expecting a lot of new music over the coming few months – Beck, Van Morrison, maybe the Stones, Neil Young, Queens of the Stone Age – all have albums coming. I had no idea Plant was even in the studio, he wasn’t on my radar, and my radar is usually pretty good. We haven’t heard from Robert since 2014’s excellent, but alas, largely overlooked ‘lullaby… and the Ceaseless Roar.’ I couldn’t sleep last night, insomnia is my cross to bear, and so I got up and logged on. I was bouncing around the internet and realized, yes, Robert Plant is going to release a new album in October, entitled ‘Carry Fire.’

Best of all, a new single, “The May Queen” has been released as the first track. I downloaded it immediately. His backing band, like on his last album, are the superb Sensational Shape Shifters – Liam “Skin” Tyson, Justin Adams on guitar, Juldeh Camara on “West African” instrumentation, Dave Smith on drums, Billy Fuller on bass, and John Baggot on keyboards. These guys blend folk, rock and “world” music seamlessly. I bought a live record these guys did in Buenos Aires from 2012 and I just love it. Plant has been intent in the latter stages of his career in blending all sorts of different roots music – Celtic, Americana, African and even Welsh. It would appear he thinks all of this music springs from the same source, so why not mix it all together and see where it takes him. He’s quoted as saying he wants to blend his old music with something new. He’s certainly done that here. I love his sense of exploration. A lot of folks may be pissed that he’s not getting back together with Zeppelin (give it up folks, no means no), but I love what he’s doing at this stage in his career.

The new track, “The May Queen,” is a great start. I can’t find any writing credits on the web, although I searched extensively. With a name like “The May Queen” I thought it might be a traditional folk tune or a cover, but I believe Plant wrote this. The lyrics certainly seem Plant-ish and of course, The May Queen shows up in “Stairway To Heaven” so we have to assume this is Plant’s writing. The song is driven by a repeating acoustic guitar riff. There is some great African or “world” percussive elements. As has been case with most of his latter music, the vocals are front and center. Plant’s voice ages like fine wine, only getting better as time passes. There is a nice violin that accents the song as well. It feels folky and world beat all at the same time. The first line “Lay down in sweet surrender, your love’s so warm and tender,” embraces you like an affectionate hug from an old friend… I just love where his voice is right now.

This is a superb opening track, reminiscent of the first track from ‘lullaby,’ “Rainbow,” which was a track that is still in high rotation here at the house 3 years after it’s release. I highly recommend you check out this new Plant track. All these years later, he’s still exploring, digging through the past to find something new. It’s been a lot of fun to listen to. And, best of all, he’s released it just in time for his birthday, this Sunday August 20th. I look forward to spinning the new record when it arrives in October…

Happy Birthday Robert! Cheers!