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Monday, January 18, 2016
Live Reviews Live review: Eric Bibb, Davis Theatre (1/16/2016)
Posted By Pat Moran on Mon, Jan 18, 2016 at 1:11 PM
Eric Bibb
Davis Theatre, Concord
Jan. 16, 2015
"This music grabbed my soul and rocked my world," Eric Bibb said Saturday night, sharing his passion for blues, folk and gospel with a packed house at the intimate 227-seat former courthouse in downtown Concord. Bluesman, guitar-slinger and itinerant songster for more than 40 years, Bibb connected with the crowd instantly and effortlessly, joking, sharing stories and celebrating the songs which "define where we come from and who we are.” He also shook the house.
Opening with St. Louis Jimmy Oden’s jaunty yet harrowing "Going Down Slow," Bibb's guitar was loping and liquid under his conversational vocal, which was smooth and rolling with just a hint of grain. Bent blue notes peppered the riff coiling through "Silver Spoon," Bibb's "thumbnail sketch" of his life story, a tale of how he built his career gig by gig, brick by brick, despite being the son of singer and activist Leon Bibb, and nephew of Modern Jazz Quartet pianist John Lewis.
"Keeping it real" seemed to be Bibb's credo throughout the evening. Noting that he specializes in music that risks becoming caricature in the hands of overblown players, Bibb kept his playing on point and emotionally direct, virtuosic without a single wasted note.
"The key to this music is to tell your own truth," he said, and so he did. With captivating charm and empathy, he guided the audience on a journey, from the snapping and ricocheting "Turner Station," a paean to an historic African American working class community, to the blissful swelling gospel of "With My Maker I am One," a celebration of our shared human spirit which had the crowd clapping and singing along.
But Bibb saved the most important stop for after the intermission.
"This is the true story of Rosewood," said Bibb introducing his composition about a prosperous African American community that was "obliterated in the fires of racial hatred." Over a sinewy guitar line laced with dread, the tale of the destruction of the Florida town in 1923 unfolded with terrible certainty. Bibb's observation that recent events show "there's still much work to be done by everyone " was particularly pointed. It was a testament to Bibb's humanity and empathy that the (predominantly white) audience was united with him - not in outrage or grief, but in understanding, an agreement with Bibb that "what we really need to do is get to know each other."
Despite such weighty concerns, the evening remained buoyant, lifted by the knotty and insistent "Stewball," a sprightly ode to a mythic racehorse, and a rousing and sunny rendition of Guy Clark's "The Cape," a transcendent encore that had both Bibb and the audience on their feet. It was a fitting example that Bibb's faith in music as a unifying force was well placed, and that these folk, gospel and country tunes can open a door to our better selves.
Davis Theatre, Concord
Jan. 16, 2015
"This music grabbed my soul and rocked my world," Eric Bibb said Saturday night, sharing his passion for blues, folk and gospel with a packed house at the intimate 227-seat former courthouse in downtown Concord. Bluesman, guitar-slinger and itinerant songster for more than 40 years, Bibb connected with the crowd instantly and effortlessly, joking, sharing stories and celebrating the songs which "define where we come from and who we are.” He also shook the house.
Opening with St. Louis Jimmy Oden’s jaunty yet harrowing "Going Down Slow," Bibb's guitar was loping and liquid under his conversational vocal, which was smooth and rolling with just a hint of grain. Bent blue notes peppered the riff coiling through "Silver Spoon," Bibb's "thumbnail sketch" of his life story, a tale of how he built his career gig by gig, brick by brick, despite being the son of singer and activist Leon Bibb, and nephew of Modern Jazz Quartet pianist John Lewis.
"Keeping it real" seemed to be Bibb's credo throughout the evening. Noting that he specializes in music that risks becoming caricature in the hands of overblown players, Bibb kept his playing on point and emotionally direct, virtuosic without a single wasted note.
"The key to this music is to tell your own truth," he said, and so he did. With captivating charm and empathy, he guided the audience on a journey, from the snapping and ricocheting "Turner Station," a paean to an historic African American working class community, to the blissful swelling gospel of "With My Maker I am One," a celebration of our shared human spirit which had the crowd clapping and singing along.
But Bibb saved the most important stop for after the intermission.
"This is the true story of Rosewood," said Bibb introducing his composition about a prosperous African American community that was "obliterated in the fires of racial hatred." Over a sinewy guitar line laced with dread, the tale of the destruction of the Florida town in 1923 unfolded with terrible certainty. Bibb's observation that recent events show "there's still much work to be done by everyone " was particularly pointed. It was a testament to Bibb's humanity and empathy that the (predominantly white) audience was united with him - not in outrage or grief, but in understanding, an agreement with Bibb that "what we really need to do is get to know each other."
Despite such weighty concerns, the evening remained buoyant, lifted by the knotty and insistent "Stewball," a sprightly ode to a mythic racehorse, and a rousing and sunny rendition of Guy Clark's "The Cape," a transcendent encore that had both Bibb and the audience on their feet. It was a fitting example that Bibb's faith in music as a unifying force was well placed, and that these folk, gospel and country tunes can open a door to our better selves.
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