Jackson Browne

Jackson Browne

18th April 2023
Kiri Te Kanawa Theatre, Auckland, New Zealand.

Review by Mike Beck. Photography by Chris Zwaagdyk.

Tuesday night in Auckland city and consummate singer-songwriter/wordsmith Jackson Browne is in town. Any night is a good night for rock ’n’ roll right?

The LA/West-Coast troubadour (he cut his teeth at that very same-named venue) has certainly gone the distance. With 15 studio albums spanning a 50+ year career to his name, record-sales clocking in the multi-millions, a rise to the top ranks in the 70’s; he’s received a tonne of praise from critics and his peers alike, along with adoration from generations of music fans.

A craftsman song-writer of the highest level (mentor to ‘The Eagles’ founders Don Henley and Glenn Fry), storyteller and sometime activist, Browne had recently been pent-up in Australia with an unknown illness. Whew, thank God he recovered and made it to our shores. The classy Kiri Te Kanawa Theatre held the setting for Browne’s first of three concerts for this current Aotearoa tour. What a suitably matching venue for the 74 years young elder statesman. Not always but this does happen; no support act tonight – it was straight into the main feature.

Opening up with ‘Before the Deluge’ from 1974’s masterwork Late For The Sky, Browne immediately revealed that he and his seasoned seven-piece band were all about executing tasteful and earthy renditions of selections from his extensive catalogue. An invigorating re-interpretation of ‘I’m Alive’ followed, the title track of a comeback record of sorts from the early 90’s.

‘Never Stop’ exemplified the languid nature of the way Browne’s band approached his songs. Maybe Browne lends to this with his onstage demeanour, this time along with little cues throughout the night that he had not recovered 100% from his recent illness. He quipped; “It’s so good to be here. I’ve been under a rock in Sydney Harbour for four days, and I don’t know exactly what is was.”

Launching into ‘The Barricades Of Heaven’, LA guitarist Mason Stoops was given his first shot at a fret-tastic solo. He would continue to execute well-constructed and aesthetically pleasing solos all night. Stoops was to prove a perfect counterpoint to super-star sideman Greg Liesz. Back to Late For The Sky with ‘Fountain Of Sorrow’, as Browne shifted stage right to the ivories. He was running a tight ship, which meant the band worked as a team unit, which conversely lead to impeccably tasteful playing across the board in all departments.

Lifting a telecaster, Browne expressed that the next composition came from his first album, released more than 50 years ago. ‘Rock Me On The Water’ indicating early that Browne ‘had it’ right from the start. My plus one reminisced and shared of seeing Browne playing The Auckland Town Hall many moons ago, & packing 40 guitars onstage. Doing the math tonight it was a similar affair, only Browne’s axes were brought on and off stage by his gat tech. Some sombre news was to follow, as Browne dedicated the title track to his latest release “Downhill From Everywhere’ to the late Jeff Young, his long-term band member of 30 years who passed away in February this year. More sad news was to follow, as Browne’s endeared collaborator David Lindley was acknowledged; another who passed earlier this year in March. ’Call It A Loan’ (a co-write) was given the royal treatment; Browne mentioning that he had worked with Lindley on and off for over 50 years, with his contributions to his songs being immense.

‘Linda Paloma’ with its mariachi flavour recalled Browne’s falling in love at Mexican restaurants over a month-long period. Throughout the evening, band members were to have gradual introductions. They included the versatile Jason Crosby on violin, piano and electric keys. An early classic ‘For Everyman’ closed out the first bracket, with a brief intermission dividing the night into two sets.

Another new one opened the second set; ‘Until Justice Is Real’, showcasing backing vocalists Chavonne Stewart and Alethea Mills, who were both repositioned front of stage and spotlit. It became apparent that with band introductions, the relationships Browne has with his players have been considerably long-term. Must be a good guy. ‘The Dreamer’ another recent number focused its lens on immigration. Of this tune, Browne noted that some of his Polynesian friends had led him to Auckland, via Hawaii regarding a sailing expedition. He acknowledged the indigenous rights for the first people, and some of the progress that has been made in this part of the world.

’Long Way Around’ shuffled along, then Browne went solo on piano for the first part of ’Sky Blue And Black.’ At this point you could feel the big songs were just around the corner. Browne slyly said “I can tell what kind of people you are.” Someone instantly shouted out “we are rockers!” – yep a fist pump from me. Then turning to Leisz, Browne nodded; “I forget I’m singing with one of the greatest slide-guitar players of all-time. Play with me Greg.” For ‘Your Bright Baby Blues’, Leisz exchanged another of his trademark lap steel solos. He was equally commanding on pedal steel and electric guitar; a true heavyweight of his craft.

Into the showcase numbers; a searing extended version of the west-coast shuffle ‘Doctor My Eyes’ got people out of their seats and up near the stage dancing. It was heart-warming to hear this classic played with such gusto, from a band that had employed restraint and nuance up til that point. ‘Late For The Sky’ had to be included, bringing the band and audience to a musical high. “It’s nice to be able to play for you tonight, this is our first full show since Japan” Browne expressed in gratitude. Then ‘The Pretender’, with the line “get up and do it again – amen”; Browne liked the idea of adding timpani – “That’d work right”? He’s got a point, it’s a dynamic song.

Late in the evening the rhythm section got their nods; bass stalwart Bob Glaub (who’s played with everyone) kept it solid throughout, while drummer Mauricio Lewak was steady, disciplined, and especially good on song endings. Overall the band seemed to all be experts in obscuring and softening notes, as if to blend with each other seamlessly a lot of times. ‘Running On Empty’ kept up the momentum to the finish, a strong closer. Appreciably Browne returned to the stage for an encore of ‘The Load Out’, initially by himself silhouetted playing piano. He paused to sneeze – what a trooper. And that was forgotten quickly as Leisz entering spotlit also ripped a brilliant solo on lap steel (just as Lindley had done many times all those years ago). Enter the band and the moments got extra-special. As per tradition Browne segued into ‘Stay’, leaving many people swaying and joyful.

Tonight’s show was a heartfelt performance invoking decades of music, as Browne ran the gamut of his discography. His vocals were consistent, and held up well after his recent health challenges. With his band backing him up impeccably with taste and polish, this was a night of simply great music, something that seems to be lessening as the world turns.

Were you there at the Kiri Te Kanawa Theatre for this magical folk-rock gig? Or have you seen Jackson Browne somewhere else before? Tell us about it in the comments below!

Set List:

Set 1

• Deluge
• I’m Alive
• Never Stop
• Barricades Of Heaven
• Fountain
• Rock Me On the Water
• Down Hill From Everywhere
• Call It A Loan
• Linda Paloma
• For Everyman

Set 2

• Until Justice Is Real
• The Dreamer
• Long Way Around
• Sky Blue And Black
• Bright Baby Blues
• Shape Of A Heart
• Doctor My Eyes
• Late For The Sky
• Pretender
• Running On Empty

Encore

• Load Out/Stay
• Take it Easy/Our Lady [On printed setlist but unplayed]

_{Note: Ambient Light was provided passes to review and photograph this concert. As always, this has not influenced the review in any way and the opinions expressed are those of Ambient Light’s only. This post contains an affiliate link. If you purchase a product using an affiliate link, Ambient Light will automatically receive a small commission at no cost to you.}

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