Review: Bonnie Raitt, Colston Hall

The announcement that Marc Cohn was to support Bonnie Raitt was great news as UK appearances by the Grammy winning songwriter are somewhat rare. Alas confusion between doors and stage times meant Cohn was on stage earlier than many expected – resulting in a constant stream of people heading in to the auditorium anxious to catch the set. As we joined the crowd Cohn launched in to Listening to Levon a stirring and uplifting cut delivered by himself on piano accompanied by Mystery Glen on keys (Cohn didn’t introduce his companion and even the wide world of the web has no record of the fella. Shame, damn fine player deserving of credit). Of course most people know Cohn for one song, and sure enough it was played but the stripped back version really brought the song back to its roots and breathed fresh life in to it; washing away the negativity arising from its ubiquity (and that, ahem, interpretation by Cher). The back story to the tune gave it emotional depth and Cohn and Mystery Glen delivered it with aplomb, taking it to the church with gospel swells and an emotion filled vocal. Swapping his piano for an acoustic Cohn concluded his set with Chilly Wind (from his new recording Careful What You Dream: Lost Songs and Rarities), proving to be an adept picker with some beautifully melodious lines. Hopefully the warm response from the crowd and the swarm of people harvesting autographs at the merch during the intermission will persuade Cohn to get across the pond again and soon.

To say that Bonnie Raitt’s appearance was hotly anticipated would be a massive understatement – her first UK dates in around three years and her first Bristol date since…dunno, she played over the Bridge in Cardiff last time out. The set opened with Need You Tonight, a song that in its original format was rather saucy but Raitt and her band manged to ramp up the sauce with a lascivious take on the song, ideally suited to Raitt’s sultry vocal and sweltering bottle neck solo.

Raitt started out on sensational form and then got better as she warmed up. Naturally her guitar playing was superb, understated at times but as the show went on her playing really caught fire. That said seeing her live rammed home how good a singer she is; powerful throaty vocals that deserve as much praise as her six string work: proven beyond doubt during the acoustic numbers and especially in What You’re Doing to Me when she sang her heart out from behind the piano to soulful effect. She was a warm presence between songs too, effusive praise for her road crew; winning hearts and minds confiding that when she returns home finding Country File on her telly will be her number one priority, and praising the ambience and atmosphere of the good old Colston (although I doubt it’s ever been compared to a coffee shop before). She was also happy to reveal the secret of successful touring “…lipstick and lubrication…” Raitt is a generous band leader too, although it’s her name on the posters and tickets there was plenty of time and space for the band to shine.

Said band were excellent though out: George Marinelli playing some sublime guitar, weaving leads around Raitt’s bottleneck; dropping Keef moves as he drove the up tempo tunes and proving to be no slouch when it came to taking his own solos (sponsored by Guinness too apparently). Mike Finnigan’s keys were tremendous but his standout moment was the band’s cover of B B King’s Don’t Answer the Door on which he took the lead vocal. Awesome is word bandied around at will for the most mediocre of things, but Finnigan’s vocals on this cut were simply awesome. Never mind the keys (which lead the song), this guy bust a gut to deliver this tune and wrenched a vocal from the depths of the blues with vigour enough that one feared he’d blow a gasket. The rhythm section – James “Hutch” Hutchinson, bass and Ricky Fataar, drums – were sublime and missed not a beat; meshing beautifully, the former adept on electric, acoustic and stand-up and the latter powerful and subtle; busy drumming with no clutter and no fat (rocking out on a strident Comin’ Round). These guys have been with Raitt for some while and the chemistry on stage was that of musicians who clearly enjoy playing together but clearly also enjoy each other’s company too; a priceless attribute and a pleasure to witness.

The set was carefully selected to cover Raitt’s career – allowing her and the band to show off their chops throughout: naturally and in service of the tunes rather than grandstanding. Los Lobos’ Shakin’ Shakin’ Shakes had a wicked groove (and made one curse the seated performance, and this wasn’t the only tune that warranted dancin’); Gerry Rafferty’s Right Down the Line benefitted immensely from a reggae vibe and bugger me if there wasn’t a dub feel to the breakdown… Hear Me Lord was Afrobeat gospel via the Caribbean and the beauty of Angel from Montgomery shone though in a stripped back version. Like many American acts that have been through town, Raitt felt compelled to make an apology although amusingly she didn’t even specify what for as we all knew it was an apology for the buffoon Trump without it being said. Raitt’s own Comin’ Round is Going Through told all that needed to be said about the current state of the USA. I Can’t Make You Love Me was the stand out tune of the multiple encores and arguably the night, and Raitt left the stage to rapturous applause and a third standing ovation. A magical night without doubt and let’s hope her own evident pleasure in the way the night enfolded will ensure a swift return visit.

Pix C Elliott