Stephen Stills displays guitar chops at Michigan Theater show
Stephen Stills at the Michigan Theater on Saturday.
Four years ago, Stephen Stills brought a shambling, messy solo show to the Michigan Theater, which did more to showcase his weaknesses as a performer than his gifts as a first-rate songwriter and bona-fide rock legend.
On Saturday, backed by a three-piece band, Stills went a long way toward redeeming himself, muscling his way through a 90-minute show that was heavy on hits, lost gems and even some surprise covers.
It wasn’t a perfect show. At 65, Stills’ always sandy growl has devolved into a rasp that changes the timbre of his quieter songs. And an extended solo-acoustic set that included inexplicable covers of Bob Dylan’s “Girl from the North Country” and Tim Hardin’s “Reason To Believe” occasionally took on the air of a not-so-good open-mic session, in spite of the inclusion of a stellar version of “Treetop Flyers,” one of the singer’s legitimate lost classics.
But by the time the band — which included Hammond organ, drums and bass — returned, Stills was back on track, laying waste to the anti-war “Cost of Freedom,” and the CSN standard, “Southern Cross,” which brought a close to the show’s first half.
And when Stills and his band returned, his fire was still burning. Often overshadowed on guitar by his occasional bandmate Neil Young (to whom Stills tipped his hat with a raspy reading of “Long May You Run”), the guitarist remained plugged in and showed why he rose to No. 28 on Rolling Stone’s Top 100 Guitarists poll. At turns bluesy, countrified and just-plain rocked out on a series of Fender Stratocasters and a gorgeous Gretsch hollow body, Stills was on fire, playing complex, intricate leads on tunes like “Make Love to You,” “Isn’t it About Time,” and “Bluebird.” The electric songs masked the deterioration of his singing voices and, at times, he almost seemed to be having fun, although a workmanlike vibe pervaded most of his set.
Meanwhile, a cover of Traffic’s “Dear Mr. Fantasy” was pointless, amounting essentially to an overly showy riff display that served neither the song nor Stills’ legacy as a player.
A set-closing reworking of the CSN staple “Woodstock” provided some redemption, thanks to a fresh arrangement and solid harmony vocals from his bandmates. But a rote reading the mandatory “For What It’s Worth,” which constituted the show’s single encore, only served as a reminder that, in spite of more than a few high points, Stills spent much of his evening playing by numbers.
Comments
Isabella L'eautranquille
Tue, Mar 9, 2010 : 7:37 p.m.
PK writes "Stills...is a shadow of his former self both in voice and musicianship...a second rate guitarist at best..his raspy, often flat, 3/4 octave voice and his veritable clambake guitar work..." Your closing line is a riot: "I was in awe the entire time." We'd hate to hear your comments if you were less than "in awe."
Michael Christie
Sun, Mar 7, 2010 : 9:26 p.m.
I thought the first 2 songs were terrible and was scared of a whole show like that, but after playing 2 shows the previous day, it was clear that took the toll on his singing/playing. I thought the balance of the show was terrific, 5th row was a grea way to see him play.
CynicA2
Sun, Mar 7, 2010 : 4:38 p.m.
I remember when he played a show at the old Second Chance - he consumed way too much scotch before the show and had to be helped up the stairs and kind of pushed-out onto the stage... nothing like booze 'n blues, I guess. Wonder if he still does that?
Paul Kulling
Sun, Mar 7, 2010 : 2:33 a.m.
Just got back from the show (and a visit to a couple local watering holes). It was great to see Stills, even though he is a shadow of his former self both in voice and musicianship. Sorry - I could never at any point in history agree with RS's assertion that Stills is a top 100 guitarist, let alone #28. He is an accomplished professional musician, composer and entertainer, but is a second rate guitarist at best, and always has been. Unless he is a blind egotist, I'm sure he would agree. I don't intend to take anything away from his unquestionable ability as an artist. Some people have "it", and he is one of them. Even with his raspy, often flat, 3/4 octave voice and his veritable clambake guitar work, I was in awe the entire time. He played on 2 beautiful white Gretsch hollow body electrics and 2 acoustics (I'm pretty sure both Martins) during the first set, and 2 Stratocasters the entire second set. Most definitely worth mentioning: two of the back up musicians were Joe Vitale on drums and Ken Passarelli on bass (I think it was a beat up old Fender Precision), both top notch longtime member of CSN, James Gang, Eagles, Peter Frampton, etc. I sincerely apologize that I did not catch the name of the keyboard player, who was really REALLY good, spending most of his time on the Hammond B3. Honorable mention (pun intended) goes to Jennifer Granholm who was in attendance (about row 15 dead center) unnoticed by almost everybody except her husband. Before the concert started, as I was waiting for my wife by the women's restroom, Jennifer and a friend were about to powder their noses (no security detail!!). I waved hello, and she stopped, walked over to me and gave me a hearty handshake! My life is now complete and I can die a happy man! TTFN P.K.