Clad in two-thirds of a natty gray suit, Boz Scaggs strodecasually onto the Pabst Theater stage Wednesday to enthusiastic applause. Bythe time he finished his 100-minute set, the applause sounded as if it hadincreased fourfold. The reaction was well deserved.
Scaggs, 65, teamed up with Steve Miller while both were UWstudents in 1960s Madisonto form the Steve Miller Band. But it wasn’t until the Canton, Ohionative carved his own niche in the 1970s, creating a blues-infusedblue-eyed-soul sound, that he gained popular and critical attention. With hiselusive, inflective tenor intact, the guitarist treated his Pabst audience toan evening of greatest hits, threaded with some early blues gems and NewOrleans-inspired funk that brought fans to their feet.
Like most veteran performers, Scaggs appreciates a powerfulbackup band. His accompanying sextet easily laid down both familiar tracks andextended blues jams, their tight formation recreating Scaggs’ familiar ’70ssound while still allowing room for improvisation.
Silk Degrees, the artist’s 1976 chart-topper, contributedseveral numbers to the show, including “Georgia,” “Harbor Lights,” “Lowdown”and “Lido Shuffle,” which had largely boomer audience members dancing at theirseats. Allen Toussaint’s “Hercules,” from 1974’s Slow Dancer, was one ofseveral Crescent City-based numbers. “Jojo,” from the 1980 album Middle Man,opened the evening.
The surprising showstopper was backup singer Monet Owens’cover of Aretha Franklin’s “Until You Come Back to Me (That’s What I’m GonnaDo),” which she delivered with fire and soul. Fenton Robinson’s “Loan Me aDime,” which Scaggs originally recorded in 1969 with Duane Allman on guitar,turned into an impressive blues jam with sideman Drew Zingg ably fillingAllman’s shoes. Earle King’s “It’s All Down the Drain” brought a rousing finishto a rare gem of a performance.
