Live review: Robert Plant and Band of Joy at the Greek Theatre

Hand it to Robert Plant: The man knows how to pick a band.

Right now it’s the Band of Joy, the rootsy ensemble led by Americana music hero Buddy Miller that largely lived up to its name at the first stop of its maiden tour Saturday at the Greek Theatre.

Miller is the one carryover from the Band of Joy’s extraordinary predecessor that Plant and collaborator Alison Krauss and producer T Bone Burnett cooked up for the multiple Grammy-winning album “Raising Sand,” whose Greek tour stop in 2008 was one of the most scintillating concerts in recent years.

Then there was Plant’s '80s outfit the Honeydrippers, an early excursion into roots rock and R&B that allowed the curly-locked singer to delve into the music of his youth.

And, for all we know, there may have been another of note along the way.

OK, OK, so Led Zeppelin does cast a rather large shadow, but Plant has shown no qualms about either stepping away from it, or from occasionally traipsing back through it when the mood strikes.

The Greek audience was, not surprisingly, heavily laced with classic rock fans who erupted enthusiastically every time Plant made the Zep connection, to the extent that their reaction nearly became a running gag Saturday: Zeppelin song? We’re on our feet. Non-Zep tune? We’ll sit this one out. Undoubtedly, there are a lot of those fans who will never forgive him for turning down offer after offer for a Zeppelin reunion because he prefers the musical path he’s on to the nostalgia circuit.

Yet the 62-year-old rock god embraced the reality of his world with zeal, opening the show with a haunting folk-blues treatment of Zeppelin’s “Black Dog,” pretty much the same arrangement he and Krauss used to appease the oldies-hungry fans in the house. Reframing that, "Ramble On" and, especially, "Houses of the Holy," away from amped-up heavy rock of yore placed songs from the Zeppelin canon more fully within the context of the archetypal folk explorations to which he's devoting himself now.  

From there they touched on about half the songs from last year’s “Band of Joy” album which, like “Raising Sand,” mines the deep wellspring of elemental American and, to a lesser extent, Celtic folk music traditions. Plant fronts the group that also includes singer-guitarist Patty Griffin, multi-instrumentalist Darrell Scott, bassist Byron House and drummer Marco Giovino, but also generously shared the spotlight, giving solo time to Miller, Griffin and Scott.

Plant obviously cherishes this music, whether it’s a traditional spiritual such as “Satan Your Kingdom Must Come Down,” an eloquent alt-country masterwork like Townes Van Zandt’s “Harm’s Swift Way” or a lullaby as truly sweet as Los Lobos’ “Angel Dance.”

Band of Joy, the album and the band, is generally more earthbound than his pairing with Krauss on “Raising Sand,” which consistently aspired to a higher musical and spiritual plane. One isn’t inherently better, and the terrestrial component Plant and Miller emphasize in Band of Joy’s material makes it possibly easier for mere mortals to relate to.

He’s still primarily interested in wrestling with the stuff that matters:  the fleetingness of temporal life and the possibilities of what may exist beyond it, the challenge of finding and holding onto love, the notion that perhaps with all the technological advances humankind has made over the centuries that something of greater value has been lost.

In that respect, it’s no surprise the thought of singing “Whole Lotta Love” one more time doesn’t hold much thrill for Plant.

The one hitch in the show, however, was Griffin. She’s a wonderful songwriter in her own right, and her voice blends beautifully with Plant’s still pliant instrument. But she remained disconnected from her would-be partner for most of the night. It was almost an hour into the set before she even directly locked eyes with Plant, who seemed to be yearning for an equal, as he had with Krauss, not simply a hired gun singer who could serve up studio-perfect harmonies.

That made it more of a Band of Pleasance during the portions of the show in which Plant leaned heavily on Griffin.  But the joy surfaced -- in the music and on Plant’s face -- when he engaged with Miller for one of his gritty guitar excursions, or with Scott, who brought a strong country-bluegrass foundation both to his vocals and his contributions on mandolin, banjo, acoustic and steel guitar.

In those moments, Plant seemed to inhabit Goethe’s answer to the question, “Who is the happiest of men? He who values the merits of others, and in their pleasure takes joy, even as though t'were his own.”

There was a fair amount of joy in the opening set from brothers Luther and Cody Dickinson in their two-man edition of their North Mississippi Allstars. Guitarist Luther spun out lots of raw, blues-drenched guitar lines over the primal rhythms Cody laid down on his drum kit in a performance, although it would have been more powerful within the cozier confines of a blues bar than the wide-open spaces of an amphitheater.

-- Randy Lewis

Photo: Robert Plant. Credit: Carlo Allegri / Associated Press

Comments

[Beltway Greg]

Kudos to Robert for refusing to sully the reputation of Led Zeppelin by pretending that all is what it isn't. No doubt he could've banked hundreds of millions of dollars but it's refreshing to see someone who is in it for the music which is probably why he got into it in the first place. Somewhere Bonzo is smiling at his old mate. See you at the Crossroads Mr. Plant.

[ExcuseMe]

I agree that the concert was great, but can't help but wonder if the reviewer has any idea what he's talking about? Patty Griffin is amazing and has been a wonderful asset to this band. This is not a double billing concert tour as Raising Sand was. Patty is a member of the band and absolutely brought joy last night! I don't hear Mr. Plant complaining about her lack of contribution and saw plenty of smiles between both.

[drummerdale]

I must be one of the "mere mortals," for I much prefer Plant's latest release to the "Raising Sand" project. I credit that largely to letting Buddy Miller take the reigns of production and the creation of the current band.
As for other Plant projects that "may have been of note along the way," I strongly suggest you check out his overlooked "Dreamland" album and his band that played on that project.
Last night's concert at the Greek, along with Paul Simon's concerts earlier in the week demonstrate two artists that refuse to become nostalgia acts. I am so happy that they continue to explore new sounds and ideas. Bravo!

[Sterling Wilson]

Nice review. It gives me some things to consider — as I am likely to be one of those Zep fans who will "sit out" the new stuff while waiting for the classic tunes.

[jay]

I'm going to a meeting, I'm going to a meeting, I'm going to a meeting. Really All Stars?

[Keith O]

Note to the opening act:
1) Take "All Stars" out of your name.
2) Never, ever, ever cover a Bob Dylan song, least of all "Stuck Inside Of Mobile With The Memphis Blues Again."
3) Amazing Grace isn't the Star Spangled Banner and you are not Jimi Hendrix

[Phil]

I saw the show Friday night at the Greek Theater in Berkeley and while, to me, Plant's voice has always been nails on a blackboard I enjoyed it, especially Darrell Scott and Patty Griffin. Plant and Griffin's voices blend in a very pleasing way.
And the pre show music tape was among the very best I've ever heard.
Phil Brown

[JWC]

Where I was "sitting" the audience was on its feet for every song in the show save one, and my section stood up half-way through that! Great show from a great artist. Don't come to see Zeppelin songs. Come to see a great performance that is all about the music.

[Ava]

Come on Randy, are you dissing Patty because you are a die-hard Krauss fan? If Robert wanted to continue with Krauss and thought THAT fulfilled him and was SO looking for that "connection", he would have most certainly continued with Krauss. Patty is totally connecting with Robert and is actually right on his every vocal, last-minute change-ups, something that Krauss could NEVER do. AND - Patty's incomparable vocals with Robert are encouraging Robert to soar back up into the higher registers of his voice which he has been doing at more and more concerts, another thing Krauss was unable to do for him. So do take the time to check out more concerts of theirs that are just becoming greater and greater with stronger connections from everyone in the band with Robert, especially Patty.

AND think about what Robert said about the aborted Raising Sand II attempts. "The sound wasn't there."

[Rockin'Robert]

For the Zep fans...Robert did 'Black Dog', 'Ramble On', 'Down To The Seaside', 'That's The Way'(my favorite of the night...and the one song where most of the audience finally sat down!), 'Black Country Woman', 'Gallows Pole' and 'Houses Of The Holy'! That's a healthy selection of Zep tunes. But...I missed T Bone Burnett!!

[J. Galt]

When Plant does better than Zeppelin than you have an argument here... to imply that nostalgia brings the masses to the shows misses the point. To be sure, Zeppelin made music, which remains timeless and continues to influence the world...Nostalgia? I don't think so...

The music world today lacks any of the originality, ability, and raw talents of the Led Zeppelin.

[Smiley]

This was a great concert by a very talented band. Judging by the average age of the event attendees Band of Joy has a very clear following of nostalgia driven fans, many wearing LZ shirts. Though I didn't wear the tee shirt, I am one of those fans. Last time I saw Robert perform live was in 1972. With every song I came to truely appreciate the fresh approach. Basically what Robert has implied "Why be a tribute band?" I couldn't agree more. My wife, not a Plant or Zep devotee, was in awe. This was such a memorable concert that I will attend 6/9 in Highland, CA.

[Charles Reilly]

I have seen Robert Plant perform with Led Zeppelin in September of 1971 (Boston) and May of 1973 (Providence). Besides those dates, I've seen his solo act at least four other times over the years with various musicians and differing musical styles. Of all these shows, the first one in Boston was by far the best. Led Zeppelin in 1971 was still considered an "up and coming" band and they played everything in their catalog including most of their fourth album, which had yet to be released. Amazingly, they played their songs note for note perfect that night despite the limited technology of the early 1970s. The point is, Plant is one of the lucky ones to be able to do his own thing at this point in his career. Most of his contemporaries play nothing but their former hits or else they don't play anything at all. At 62, Plant is still in reasonably fine voice and can put on a worthy show without compromising his musical integrity, which he apparently has plenty of. His show at the Greek was just another example of his commitment to his art form. Sure, like a lot of his fans, I'd like to see Plant with Jimmy Page and John Paul Jones again before he calls it quits. But if it isn't in the cards, so be it. Plant is acutely aware of what those gentlemen have meant to his career, and that fact has always been evident in his choice of material and musical direction.