On this evening Young'sone-man show included more than a half-dozen unreleased songs. The new material bodes well for arumored album with producer Daniel Lanois, whose M.O. is smoothing out roughedges.
As Young demonstratedFriday, he lives for the rough edges. In “You Never Call,” a haunted deathletter blues, he sang “You are in heaven… the ultimate vacation with no backpain and all we do is work.” Ben Keith, Young's longtime collaborator, died inlate July. In January, Young's longtime videographer L.A. Johnson passed awayas well, so it was no surprise that at times the concert seemed like a wake.
“Peaceful Valley”collected images of bison, wagon trains and armed white men, and fast-forwardedto oil, polar bears and global warming. It is another in a long line of time-travelsongs. A driving rocker, “Hitchhiker” harnessed the magic of analog sound fromYoung's instrumentsstate of the art circa the late-'50sfor a ramblinghard-bitten pharmaceutical travelogue veering from hashish to amphetamine toValium, and from grass to cocaine to domestic happiness ultimately found. Heeven steals lyrics from his own “Like an Inca.”
The key to a Neil Youngsolo gig is varietynot that his songs couldn't carry the day alone. Over thecourse of a sprawling set he wisely moved from various acoustic guitars toelectrics, and from upright piano to grand piano to pump organ, addingharmonica and effects. It didn't hurt to have four vintage Fender tweedamplifiers and a wooden Indian onstage just in case. To nick the modernparlance, this is value-added Young.
Sporting a white jacketand fedora, Young opened with the acoustic “Hey Hey, My My,” and also playedthe sing-alongs “After the Goldrush,” “Old Man” and “Helpless.”
Near the end of the setYoung strapped on his old, black Les Paul for “Cortez the Killer,” and became aone-man orchestracaressing and rapping the guitar strings, playing off his ownecho and wanging on the Bigsby vibrato. As if to show contrast, he followedwith the high-def blast of “Cinnamon Girl.”
Despite ticket pricesthat began at $95, the concert sold out. And while Young barely addressed theaudience, no one had reason to complain.
Young ended his encorewith yet another new song, the eerie “Walk With Me,” which found him againplaying off the guitar's echo. As the song built to a climax Young took it intoan extended coda, facing the amps, repeating “walk with me” while swinging thehollow-body guitar like a pendulum, creating an eerie feedback soundscape. Asmuch performance art as rock 'n' roll, this was spooky Young at his best.
Scottish folk legendBert Jansch, an influence on Young, opened. Jansch sounded great, at least whatcould be heard above the yakking fans herding to their seats. You would havethought at least the Nick Drake cultists might have been out in force. Toobadit seems unlikely Jansch will be back anytime soon.
Photo by CJ Foeckler
