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Concert: Jackson Browne/Steve Earle/Keb Mo
Cuthbert Amphitheater, Eugene, OR (7/22/03)
Reviewed by Tim and Ananda Owen
Photos by Tim Owen
Not your run of the mill triple bill with three consecutive separate acts, this show was set up to pull out all the stops between individual performers, giving us good helpings off a combo platter. Though they had to trim 1/2 hour of the tour's standard 3 1/2 hour show due to noise curfew here in Eugene, this packed, upbeat crowd (despite the 100 degree heat) soaked it all in, grooving at the beautiful river setting of the Cuthbert Amphitheater.
A short opening set gave us a songwriters in-the-round, acoustic sit down sampling of a song by each, beginning with Jackson's, "Cocaine" (rehab version), followed by Steve Earle's "Ellis Unit One," and finishing with Keb Mo's, "Don't You Know."
Without a break, as Jackson and Keb exited the stage, Steve was joined by his band, The Dukes, who, together, launched us on an electrified rocking journey. Featuring a collection of songs that spanned from his groundbreaking late 80's recordings, to his present Grammy award winning Jerusalem CD, Earle switched from the down and dirtiest stratified rhythm to lightning leads, to melodic mandolin, as he belted and sometimes growled his brilliant largely outlaw fueled, yet literate songs. Country roots with a hard rocking attitude, Steve's set included "Ashes to Ashes, "Transcendental Blues," as well as the controversial "John Walker Blues," and "Jerusalem," (both from the CD title of the latter), and of course, blowing the top off with "Copperhead Road."
Following the fierce energy blast of Steve Earle, Keb Mo came on, gathered the coals and transformed the energy in to a warm glow throughout his set. Starting out solo he eventually had borrowed Jackson's complete veteran band. From the grit and bite of country blues to the sly wit he infuses into so much of his work, the integrity with which he expresses human emotion serves to create a real sense of community that validates our passions and feelings. It's the blues, though less in the traditional sense, but as an extension of his own creative expression. Witty and engaging, Keb Mo and his songs have a wonderful way of pulling you into a really good space, where you look around you, and as far as you can see, everybody's smiling big. His set included songs "Every Morning," "That's Not Love," "Keep it Simple," and "As Soon As I Get Paid," as well as a lovely version of "Just Like You," on which he was joined by Jackson on keys and vocals.
As Keb left the stage Jackson appeared and with his band launched into an emotional "Night Inside Me" from the new CD, The Naked Ride Home. Seamless and cohesive, this set really flowed, each song lending to the next. Concise and polished, the band's ten years together really shone, as they nailed every flourish of the most intricate arrangements with an approach both fresh and true to the songs' original treatment. With the innovative bass lines laid down by Kevin McCormick, and the mesmerizing interplay between guitarists Mark Goldenberg and Val McCallum, Mauricio "Fritz" Lewak's dynamic drumming solidified the sound and lit a heavy charge. Classic hits and favorites like "Everyman," "Fountain of Sorrow," "Bright Baby Blues" and "These Days" delighted the Eugene crowd. The politically charged "Lives In the Balance" was more pertinent than ever. Others from the new record included the bouncy reggae-tinged "For Taking the Trouble," (with Keb Mo joining in for some tasty guitar work) and the deeply personal "Naked Ride Home" title track. Ending his set with a highly fueled kick-ass "Running on Empty," Jackson and the band returned to the stage along with Keb Mo, Steve Earle and the Dukes for "Take It Easy" and "I Ain't Ever Satisfied."
Jackson's gift is crafting personal and introspective songs whose careful wording illuminates those fleeting but lingering mysteries of humanity that float around in our collective consciousness, though not as if he's giving us, "the answer," but acknowledging the search, the quest, and common ground.
Though so different stylistically, the parallels of these artists run close with the integrity they bring to their songwriting craft. The depth of heart and the strength of social conscience rings loud in the vivid songs of all three. Working together as well as separately , this show flowed with talent, and the best part was it was obvious they were having a lot of fun with each other doing it.
© 2003 - Tim and Ananda Owen