She & Him  | |
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| STARS & MIRACLE FORTRESS | |
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| Born Ruffians & Caribou | |
| Bruce Springsteen & The E-Street Band | |
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| Edwin McCain & Low Stars |
B.B. King March 4, 2007 Reviewed by Jason Shaffner At eighty-one years old and counting, B.B. King may not strut the stage anymore, but the man hasn’t lost a beat with either of his principal instruments: Lucille, his famous black electric guitar, and his distinctively raspy-yet-soulful growl. In case there were any doubting Thomases among the crowd at The Opera House in Boston on March 4th, King tore through a survey of hits from his catalogue, proving that he remains one of the most brilliant guitarists in the business. Holding the daunting honor of opening for the self-proclaimed King of the Blues were Ernie and the Automatics, led by billionaire automobile dealership scion Ernie Boch, Jr. Much more than a novelty act, however, the band features guitarist Barry Goudreau and drummer Sib Hashian, original members of the musical group Boston. Also joining the band on stage were blues musician James Montgomery and Michael “Tunes” Antunes, saxophonist for the Beaver Brown Band and co-star in Eddie and the Cruisers. The group played an energetic and polished set. A particular highlight for this listener was “Hong Kong Shuffle,” a high-energy original. But the crowd was there for B.B. King. His band emerged, all bowties and brass. They took solo turns at the center mic for two extended instrumental tracks before King made his appearance. From the moment he first appeared on stage, dressed in a black tuxedo and an oversized gold jacket, he demonstrated genuine enthusiasm for the crowd and his music. Throughout the show, he seemed to be having a blast. Rehearsed as some of his routines with his band might have seemed, there was a remarkable sweetness to them nonetheless. During an incredible two-hour set, King and his band performed a survey of his sixty-year career, including “All Over Again,” “Nobody Loves Me But My Mother,” “When Love Comes To Town,” “Early In The Morning,” and “I Need You.” Except for the occasional smartass casting barbs toward the stage, the crowd arrived at an eerie calm after every enthusiastic ovation, permitting King to talk at length about his advanced age and the relative youth of his band (some of whom have been touring with him for thirty years), his upbringing in Mississippi (followed by the autobiographical “Blues Man”), and the likelihood that a female president would not have taken us to war. In many ways, it was the most intimate concert this reviewer has ever attended. My favorite moment of the night came during King’s attempt to salve wounds that may have opened when he asked the men to participate in the chorus of “Just Like A Woman,” when King led the crowd through a sing-along “You Are My Sunshine” and ordered the house lights on so he could watch the couples kiss and make up. After nearly two hours of sublime entertainment, King asked if we would permit him one more song. Moments after he coaxed from Lucille the last licks of “The Thrill is Gone,” his 1971 Grammy winner, King’s handlers promptly dressed him in his top-coat and ushered him toward the exit. As King waved farewell to the reverent crowd, I couldn’t help regretting my failure to catch him on one of his earlier tours. If his tour bus rolls through your town, do whatever it takes to secure your seat in an audience with greatness. |  |
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