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Jackson Browne

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Jackson Browne review, Santa Barbara: 50 years after his debut, America’s finest singer-songwriter remains a magical presence

The 73-year-old brings his ‘evenings with’ tour to california, and wows with almost three hours of heartbreakers and hits, article bookmarked.

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Few California singer-songwriters are as adored as Jackson Browne . Despite being born in Germany to an American serviceman, Browne has been synonymous with the golden state since the Sixties. Raised in the now overwhelmingly hip Los Angeles neighbourhood of Highland Park, he began his career as a teenager in the city’s famous folk clubs, before a short stint in New York with his lover and collaborator, Nico . He returned to LA when he was still only 19 and found himself at the centre of a blossoming folk-rock scene that included his friends Linda Ronstadt and Glenn Frey of the Eagles . Ever since, Browne’s emotive Laurel Canyon-adjacent sound has moved seamlessly with the decades, from swooning Seventies ballads to his Eighties rockers – not to mention a surprising experiment with reggae. Later came more socially conscious work, such as his 2020 benefit album for Haiti . There have also been numerous environmentalist initiatives and a longstanding pledge to make his tours “green”.

Tonight, he’s taking his “Evening With” run of shows to Santa Barbara , a scenic beachside town just up the coast from Los Angeles. Browne wastes no time in telling the crowd how much he likes it here. “We’ve played a lot of places on this tour,” he says, grinning. “They were OK, but they weren’t Santa Barbara.” It’s easy to see why he’s so keen on this particular location – for the opening of his set, the moon rises behind the statuesque silver birch trees that surround the open-air stage, which was carved into this lush hillside in the 1930s.

Sporting the same simple all-American uniform he’s had for over six decades – blue jeans and a flannel shirt – he spend s the next three hours charming the well-heeled crowd with endearing, spontaneous chatter. There are songs too, radiant and sincere. They come from his eponymous 1972 debut (“Jamaica Say You Will”, “Rock Me on the Water”, “Doctor My Eyes”) and include 1974’s heartbreaking “Fountain of Sorrow”, which is long rumoured to be about his short affair with Joni Mitchell . There’s even 1980’s “That Girl Could Sing”, which he winkingly remembers as being “about the first girl I ever saw driving a Jeep”.

A tender, lap-steel assisted rendition of “These Days” – written when Browne was just 16 and covered by Nico in 1967 – renders the Santa Barbara Bowl near-silent, while moody break-up anthem “Late For The Sky” tugs on the heartstrings with unnerving force. But Browne also still knows how to have fun. “Take It Easy”, which he co-wrote with Frey and became one of the Eagles’ biggest hits, is introduced with an anecdote about how playing it live used to bother him, as everyone thought it was a cover. “Anyway,” he smirks, before launching into the Americana classic, “here’s my Eagles cover.” Half a century into his career, Jackson Browne proves he’s far from running on empty.

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5 Moving Moments From Jackson Browne’s Joyous Return to New York’s Beacon Theatre

Bearded and dressed in black, Browne looked the part of a spiritual music master — guiding listeners through mysteries of the heart and the turmoil of a troubled world.

By Thom Duffy

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“So, we’ve been having some strange weather,” Jackson Browne remarked to his audience early in his Beacon Theatre performance Tuesday — the first of a four-night stand at the New York venue. “I mean, the entire world is having strange weather.”

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His comments introduced “Downhill From Everywhere,” a song whose montage of images place a neglected ocean at the center of a distracted and troubled world. It is the title track of the masterful 2021 album from this beloved singer/songwriter who, among many other things, has been on the front lines of climate activism for decades.

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Further on in his set, Browne brought forth his 1974 classic “Before the Deluge,” singing of dreamers on “the brave and crazy wings of youth” who were “angry at the way the earth was abused” — who nonetheless responded with the call: “Let the music keep our spirits high.”

These songs, recorded decades apart, were just two highlights of Browne’s joyous return to one of the singer’s favorite venues, in a year that marks the 50th anniversary of his debut album. “I love the Beacon,” said Browne — despite contracting COVID-19 previously at the hall, he acknowledged. His affection extended to the city outside. “I just dig how resilient New York is,” he said.

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Dressed in black and sporting a gray beard that he has grown in recent years, Browne looked even more the part of a spiritual music master — guiding his listeners through both mysteries of the heart and the turmoil of a troubled world.

From the bright pop of Tuesday’s opening song, “Somebody’s Baby,” to the closing encore of “Load Out” and “Stay” (the latter a fitting tribute to the resilience of touring musicians at this stage in the pandemic), Browne and his eight-piece band looked back with reflection and ahead with optimism.

Here are five moving moments from Browne’s Tuesday night show.

Tapping the cultural mood

A media study in June found that some 38% of Americans say they often or sometimes avoid the news nowadays. Browne tapped that zeitgeist a decade ago in “The Long Way Around,” which he performed early in Tuesday’s set. “It’s a little hard keeping track of what’s gone wrong,” he sang. “The covenant unravels and the news just rolls along/ I could feel my memory letting go/ Some two or three disasters ago.”

So clear and so bright

In 2004, when Bruce Springsteen inducted his friend Browne into the Rock & Roll Hall of Fame, he said: “In ’70s post-Vietnam America, there was no album that captured the fall from Eden, the long, slow afterburn of the ’60s, its heartbreak, its disappointments, its spent possibilities, better than Jackson’s masterpiece Late for the Sky .” Browne recognizes the enduring power of that work and offered no fewer than four songs from that 1974 album, from the lover “smiling so clear and so bright” in “Fountain of Sorrow,” to “Before the Deluge,” to the album’s title track, and “For a Dancer” — which contains perhaps the most moving lyric ever written about the death of a friend. “I can’t help feeling stupid standing ’round/ Crying as they ease you down/ Because I know you’d rather we were dancing/ Dancing our sorrow away.”

How the pandemic changed a ballad

When Browne performed at the Beacon Theatre in 2019, he introduced a new song, “A Human Touch,” co-written by Leslie Mendelson and Steve McEwan. It was composed for a documentary about the San Francisco General Hospital AIDS ward during the 1980s — and the bravery and devotion of the doctors and nurses who cared for the sick in those years. Onstage Tuesday, Browne brought out Mendelson to duet on the song. Certainly there was more than one member of the audience who said a last farewell to a loved one during the pandemic, without the blessing of a human touch. And this ballad became a fresh tribute to the medical caregivers of the past two-plus years.

Running on a full tank

A Jackson Browne concert does not lack for wonderfully reflective music. As he performed a heartfelt “These Days,” you could not help but marvel at how a very young man had first written this world-weary meditation. But this veteran of Southern California’s freeways also has no hesitation to rock out.

And Browne is touring with an extraordinary band that allows him to do so: bassist Bob Glaub (who goes all the way back to the sessions for The Pretender ); drummer Mauricio Lewak; organist Jeff Young; pianist Jason Crosby, who doubled on violin; backup singers Alethea Mills and Chavonne Stewart; and guitarists Val McCallum and Greg Leisz, who also played pedal and lap steel.

In sound that was powerful and crisp from the front rows of the orchestra to the upper balcony (this writer checked), Browne led this ensemble through some of his most riveting, upbeat songs: “Rock Me on the Water,” his cover of Steven Van Zandt’s “I Am a Patriot,” “You Love the Thunder,” “Redneck Friend,” a gospel-like “Doctor My Eyes,” and the set-closing “Running on Empty.”

Reviving a classic song — and segue

“I didn’t sing this song for many years,” Browne began, describing the co-writing sessions he’d had with his late friend and onetime neighbor Glenn Frey , which led to a monster hit for Frey’s band the Eagles (and the suggestion that Browne was covering that band’s song). But for the show’s penultimate encore, Browne beautifully reclaimed “Take It Easy” as an exuberant call to “lighten up while you still can.”

But there was more. As the closing chords of “Take It Easy” swirled in the night, Brown and the band segued into “Our Lady of the Well.” It was a delightful musical juxtaposition that first appeared on Browne’s recording of those songs, on his sophomore album, For Everyman , and it is imprinted on the aural memories of countless fans. It was as if Browne sought to give a knowing gift to those who have traveled with him along the road all these years.

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Review: JACKSON BROWNE at Palace Theater

Browne may be turning more gray, but he is far from Running On Empty

Jack Wilce may have left Columbus, but the local guitarist never has left the mind of singer/songwriter Jackson Browne , who opened the North American portion of his current tour June 3 at the Palace Theater (34 W. Broad Street in downtown Columbus).

Midway through the opening stanza of the always poignant “For A Dancer,” Browne stopped singing to remember Wilce, who died Jan. 30, 2021.

“I want to dedicate this song to my good friend Jack Wilce who was from here in Columbus,” Browne said. “He joined me a couple of times on stage here. He was uncommonly gifted on guitar.

“(David) Crosby would show up at our house and Jack was the only person who could teach him the harmony parts. So I am doing this one for Jack Wilce.”

Wilce, the grandson of former Ohio State football coach John W. Wilce Sr ., formed a folk group with Browne and Ned Doheney in 1968 and collaborated with Browne, Crosby, and Gram Parsons among others.

“For A Dancer,” a track from the 1974 classic album Late for the Sky, uses dancing as a metaphor for life and death. The lines -- “ By everyone you've ever known / Until the dance becomes your very own /No matter how close to yours / Another's steps have grown / In the end there is one dance you'll do alone” – seem to form the baseline for Browne’s show.

Over the last 20 years, Browne’s life has been pockmarked with loss, like the gray patches in his hair and beard. He lost former housemate, Glenn Frey, former touring partner Tom Petty, and Crosby.  

Amidst the joyous, smooth touchstones like “A Heart Looking for Mine,” “For Every Man,” and “Running on Empty,” traces of melancholy could be found in the 74-year-old troubadour’s set list.  

Browne opened the show with a powerful reading of Warren Zevon’s “Don’t Let Us Get Sick.” Browne often collaborated with and was a champion of Zevon, who passed away in 2003. He also eulogized David Lindley, his former steel guitar player who died March 3rd, with “These Days.”

However, don’t believe that Browne’s 3-hour concert was a gloomy affair. “For A Dancer” proclaims, “ Don't let the uncertainty turn you around (The world keeps turning around and around) go on and make a joyful sound. ” And for most of the show, Browne and his talented band of merry makers did exactly that.

Flanked by Greg Leisz (guitar), Mai Leisz (bass), Maurico Lewak (drums) and Chavonne Stewart (vocals) and Alethea Mills (vocals), Browne smiled and played with the audience.  During one portion of the show, Browne asked the audience what they wanted to hear and fans shouted out favorite selections from his catalog. After a lull, someone shouted Lynyrd Skynyrd’s “Freebird.” Browne stopped tuning his guitar, looked in the direction of the antagonist and slowly shook his head.

That is the problem with a prolific songwriter with over three decades of material. Browne has too many great songs to choose from. He hit many high points from his career including “The Shape of the Heart,” “For Everyman,” and “These Days,” before ending with the standards, “Running On Empty” and the ultimate show closer “The Load Out/Stay.”

Glaringly absent however were fan favorites – “Got to be Somebody’s Baby,” “The Pretender,” “Boulevard,” “For a Rocker,” “Lawyers in Love,” and “Take It Easy (a song he co wrote with the Eagles),” And to the chagrin of some of the audience, there was no “Freebird” or “Stairway to Heaven.”

Yet at 74, Browne left the Palace Theater crowd with the feeling they had seem something rare and magical. And somewhere in ethereal afterlife, Jack Wilce was smiling.

PHOTO CREDIT: Steve DeWeese

Columbus SHOWS

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Jackson Browne Reviews

Soul Rnb Concerts Legends Live

Number of reviews: 39

Page: 1 2 3 4 5 6 All

STILL HAS IT!!!

I have to begin by saying the Ryman as a concert venue is the absolute best. Located in the heart of downtown Nashville you could not ask for a better place. This theater has an intimate feel and the most amazing acoustics. That being said, to put the mellow sound and amazing voice of Jackson Browne inside that venue made for an awesome experience. Even at 70 Jackson Browne was incredible. His passion for singing and entertaining still shines through. He is personable with light conversation between songs that made you feel as if he was talking directly to you. The backup singers added another dimension his songs that I enjoyed. A wonderful show. Sorry for you if you missed it.

VINTAGE JACKSON

Yes, his voice is loud and strong. Interacted quite a bit with the crowd. He made the mistake of telling us we were pretty quiet, because it got rather rowdy after that. Lots of cat calls, "I love you Jackson!" and song requests shouted from all over. Someone pulled the fire alarm, but no one was going anywhere. The two gospel choir ladies sang like angels, and their voices compliment Jackson's perfectly. There were a few twangy guitar chords, but all in all, a fabulous show. I also recommend Jack's Bar-b-que in downtown Nashville. The line might be long, but it's well worth the wait. Do not miss this show!

SKY BLUE, NOT BLACK

This may be one of the best shows I've seen of Jackson Browne--and I've seen at least 25 shows over the years. It was as if he was in your living room, telling stores, sharing secrets, tirelessly moving through time while trading one guitar for another mixed with the piano. Revealing his truth in song, which for me is often my truth, referencing the past, but living in the moment. His voice was nearly impeccable, whether alone or in graceful harmony; and the band and the balladeer were one. True to form, when he had a miscue, he said so. He seemed moved by the crowd and appreciative of the intimate Wallingford, Connecticut venue. Yes, it was "good to see your smiling face tonight" as well.

BETTER THAN HOPED FOR

My wife and I caught the August 23rd evening show at the Venetion. The show was genuine, interactive and funny in moments. There were a couple of times at the beginning of a song they had to stop and reset because one of his bandmates weren't quite in step which led to some truely funny moments. Other funny moments occured when Jackson took time to talk to us Yahoos yelling from the seats. It's not too often that you attend a concert show that you feel the crowd was with the band and the band was with the crowd. This was that night for me which I will cherish for a lifetime. Jackon Browne's voice in my oppinion has not lost its timbre over the many years of his career. I would recommed to anybody that has appreciated his music over these past many years to make a serious effort to see him play.

IN MY TOP 10 NOW

I was skeptical...heard he was only doing stuff off the new album but at this concert was not the case. Vocals are still great....musically the band was fabulous....2 curtain calls....Tucson was desperate for this!!! I absolutely loved it and urge all who are fans to catch him in their cities.

VOICE IS STILL AMAZING

First time seeing Jackson Browne and first visit to Ravinia. Played nearly 3 hours and delivered the goods. Old songs mixed with newer ones. Some of these artists are shackled by the volume of their catalog? Backup ladies were amazing also. Ravinia didn’t disappoint great intimate setting.Jackson mixed banter throughout his set. Great artist who’s a must see, as I will again.

GREAT PERFORMANCE

7/14/2022 show iat the waterfront pavillion. Perfect summer evening. Jackson did NOT disappoint. His voice was strong and true , nicely backed by two gospel singers. The setlist was very well arranged, and had the audience fully into the show. Encores included Take it Easy, Load Out, and Stay. Jackson shared a few anecdotes, and was very appreciative of the audience. I feel lucky to have seen the show.

An amazing show - Jackson Browne sounds just like he did 50 yrs. ago (still so talented). Each and every one of his band along with the back up singers were phenomenal. Show started exactly on time, no pre-performance band, they played for 3 hours with a short intermission, perfect! and a surprise sit in by Bruce Hornsby. FANTASTIC SHOW!!! highly recommend!

JACKSON BROWNE - BEACON THEATER, NYC

The show is billed as "An Evening with Jackson Browne" and that's just how it felt. Since I was a teenager, Jackson's music has been a part of the soundtrack of my life . And I know I'm not the only one. He and his incredible band played for nearly three hours - the songs spanning the decades. At every transition, Jackson would interact with us all - telling stories, jokes, anecdotes - making us feel like we were old friends. The Beacon is a perfect venue - large enough for the packed crowd - but somehow still intimate and with outstanding acoustics. At this point of his career, Jackson could just coast on his huge catalog of hits. But he showcased his new album and fresh arrangements of older songs. He has grown so much as a performer. He is so open, funny, generous on stage - grateful for the opportunity. And honestly - he sounds better than ever.

AS GOOD AS HE'S EVER BEEN

I’m a long time JB fan. His music has been a mainstay of my life’s soundtrack. This performance was pitch perfect. The set list, his voice and the remarkable band and backup vocalists delivered a “10”. Jackson Browne is a treasure and even his oldest songs hold up so well.

OUTSTANDING

One of the best shows I’ve seen for years, Jackson Browne is at his best, voice, presence, musicality, everything, The band is absolutely outstanding too, if you want to see / hear some real magic, don’t miss him!

ROCKIN' AT RED ROCKS

How anyone could write a less than five-star rating for this concert is beyond me. Jackson Browne still has what it takes to wow an audience. His voice is still vibrant, and his band, including his two back-up singers, is incredible. I loved that he played songs from his new album as well as some standards. As a music fan, I can say that the solo instrumentals of every member of his band were beautiful. In all honesty, I was brought to tears by the musical talent and the reminder that we've all moved along but still can experience great performers like Jackson Browne. Of course the Red Rocks Amphitheater helped make the show. Two encores and a three-hour show far exceeded my expectations, which were very high. Would travel to see his next show if we're lucky enough to have that opportunity.

JACKSON BROWNE COLUMBUS 2023

Still on a high after having seen Jackson Browne and friends for 11th time. Palace Theater in Columbus is ideal for performance of this magnitude. Expectations are always very high for JB and, as per usual, they were met and exceeded. Set list was drawn from entire career and included several gems not appearing on most 2023 lists, including "These Days", "Lawless Avenues", and " I Am A Patriot". Supporting cast was impeccable and Craig Doerge was fantastic on slide . guitar. Have seen Jackson at semi-regular intervals over almost 50 years and can honestly say he, his voice and overall performance hasn't lost a step in any phase. If you are at all on the fence about making the effort to attend, pull the trigger. You'll be glad you did .

ANOTHER GREAT J. BROWNE CONCERT

This is my fifth time seeing Jackson Browne (JB) over the last 44 years and it was another fantastic show. The Palace Theatre was a great venue and JB's voice, and band filled the venue with great music. I've been to an acoustic show where the audience shouted requests and JB did the song. Unfortunately, now a vocal group of folks feel that every concert should be shouted requests instead of a planned and rehearsed setlist. The setlist was a great blend of classics (For a Dancer, Dr My Eyes, Running on Empty, Your Bright Baby Blues) some surprises (Love Needs a Heart, Something Fine, Farther On) and some great newer stuff also (Barricades of Heaven, Until Justice is Real). He played for almost three hours and my only regret is that he couldn't play for three more!

NEVER DISAPPOINTED

First saw Jackson at Red Rocks in the 70’s. I have seen him in concert about 8 times or so since then. I have always looked forward to listening to him on a regular basis. I have never left one of his concerts disappointed. That said, I feel like I have grown up with him, learned and shared in the experiences of the times. I have friends who really have no similar feelings as these. I think that if he speaks to you through his lyrics, you will enjoy his live concerts as well. Have I wished the venue would have been better or wished he played a few songs that I would have loved to hear that night, sure! That’s not on him. I would love to thank him personally for his contributions to music and the positive influence he has been to me for many years.

2023 JACKSON BROWNE OMAHA

Great concert and the 5th time I'm attended a JB concert sine 1980. Nice balance of new and old songs giving an artist to continue his/her creative path. Folks who want oldies only diminish opportunity of gifted artists to continue to be creative!

JACKSON HELPED EASE ME INTO TURNING 70 THIS MONTH- GREAT CONCERT!

My first time going to the OrlandoDr Phillips Center- he was in the beautiful Disney theatre in it and the entire concert was great! His writing & musicianship was always incredible & his voice seems to have only become stronger, perhaps from the deepening of voices that generallly happens with age. He truly made easing into this new decade easy as I watch and with him move through the years that then become decades. One of his songs kept me alive during the hardest times & still depend on his music for moments matching any and all moods and spirits.... Thank you Jackson ~

RUNNING ON FOREVER

Came to Vegas to see Jackson Browne and was not disappointed at all. His voice is still wonderful (how does he sing better in the higher range?) And his backup singers are A-mazing, as is his oh-so-talented band. His first songs were basically political and given the state of the world, he seemed burdened. (How could one not?) But the more he sang and with the love his fans displayed, he seemed to enjoy himself more and shine a bit brighter. By the end, he (and we) were soaring. He broke his set list a bit, and an usher told us he played a half hour longer than previous evenings (Thanks, Venetian). I saw him live when I was 19 and only again now, 50 years later. What perfect bookends. Thanks, Jackson, for being one of the composers to the soundtrack of my life!!!

BLOWN AWAY - JACKSON BROWNE IS OUTSTANDING!

Jackson Browne performed like a young man and has such an amazing demeanor. It was truly an fantastic experience. Only thing I struggled with at times was the sound system on vocals. All in all still gets 5 stars - keep on Rockin Jackson!

I’M GOING TO JACKSON

Visiting the Bay Area for the first time- I traveled from London, I’d been looking out for who was playing whilst I was in San Francisco. Jackson at the Greek on a Friday jumped out. Arrived in good time on the Bart; found my way thru uni campus. The venue on a beautiful sunny evening didn’t disappoint- tho the seating did. After a beverage or 3 MR Browne walked on with his band, they played an excellent set, I was particularly taken with the drummer who I initially thought was Jim Keltner- that good-. Crowd far more vocal than an English/ European mob. Anyway all in all a great evening , Jackson’s voice clean and strong. Next time he’s in London I’ll be in attendance

NO “ON THE BLVD.”

All in all very glad I had the opportunity to attend. Around 5 songs I related to that brought me back to our time in the ‘70’s starting with that girl could sing . Curious & slightly disappointed that “on the Blvd” wasn’t played since the lyrics match the location, setting the young ones up & so . Can’t always get want u want . Still grateful I went .

PROBABLY KNEW ABOUT 4 SONGS - SNOOZEFEST!

Oakdale Theater, Wallingford, CT 6/29/19 - So so so disappointed! I was waiting all night for the big hits but was waiting for nothing. I don't understand why artists think that fans want to listen to music they've never heard before. We come to see old artists to hear their hits not listen to some boring songs that they want to try out on the crowd! I just don't get it! If I knew that he was going to play maybe 4 of his hit songs if that - I would never have gone and spent $60 on a ticket!! So mad!!

BOSTON JULY 2 2019 JACKSON BROWNE

Very disappointed that Stay and The Load Out were not preformed. Lots of others attending were also expressing disappointment as we were all exiting venue.

COMPETENT PERFORMANCE

It was personally fulfilling to hear him play live again. He still sounds terrific with backup vocalists who handle some of the tougher lyrics that his 71 year old vocal chords may no longer be able to reach. His songs from his original album through Running on Empty remain for me, his defining works. Hearing him sing the titles from those albums, remind me of the time he was a songwriting force, beyond many. Many standards of that time, that the crowd would have enjoyed, were unfortunately left off of the playlist, which was disappointing. Curiously, he chose not to play his longstanding, crowd pleasing, encore (the Load Out and Stay), possibly because none of the singers could reach David Lindley’s notes. Also conspicuously missing were “Rock Me On the Water”, “Here Come those Tears Again” and “Late for the Sky”; songs that portray the deep emotions that made him the recognized talent he became. Good seeing and hearing you again Jackson. I would like to have said “Great”.

LAS VEGAS SHOW

I will start by saying I am a huge JB fan and it kills me to only give him 3 stars. It was a great rock show! But for me I hated the song list. He rocked it up for Vegas and maybe that is the best thing for show business. No Bright Baby Blues, For a Dancer, Jamaica say you will, Song for Adam, Before the Deluge or Something Fine. I understand not having time for them all, but he did not play any of these. I came to Vegas just for the show and was considering going again of Friday, but that will not be the case. He sounded great, so if you are not a old time JB fan and do not know and love these songs, they rock it out and sound awesome!

While Jackson Brown still is a kind soul, brilliant writer and singer, I was trying to breath in the Theatre! According to staff, the heat 97 degrees, was due to artist request. I have worked in the entertainment business for many years. NEVER had a artist made such a request. Spent a lot of money to only last through the first 45 minutes. Due to the heat or NO A/C I could not get into the show. Beautiful theatre!

JACKSON BROWNE IS GRAT BUT...

First of all the positives- 1. Jackson Browne still has it. First of all his voice is still 100% there, unlike many of his contemporaries. It's as rich and strong as ever, and his songwriting is still there too. He sang more recent songs than old standards, but it didn't matter. It seems like he can't write a bad song. 2. I had a great view. I was in the 6th row of the lower balcony and I didn't feel too far away at all. Now the not so good- 1. The crowd was way too rowdy. I've gone to free concerts where I live in Sierra Vista where the audience showed more respect for the performer and each other. Loud talking while the opening act was singing, yelling and interrupting Mr. Browne, you name it. 2. The volume was way too loud. 3. The sound was fuzzy. I don't know whether it was the acoustics, the mixing, whatever, he sounds clearer and better in my living room on CD. 4. Too much orchestration. He is so good, all he needs is a guitar, a bass, and drums, not all that noise from 7-10 people.

BORING SHOW

This was our 3 time seeing Jackson at the Beacon. He just didn’t read the audience request to sing his old songs that we all came to hear. Too much instrumental also. All the people around us all agree he sang too many new songs and to me it was boring. Could be my last time going to see Jackson Brown. Still a fan but no more concerts. Sorry Jackson but you have to do a better job and listen to your audience.

NOT FOR YOUR AVERAGE FAN

Very disappointing. The ticket should have had a warning label. “This concert will consist wholly of Mr. Browne’s basement riffs, familiar to only the most intimate followers”. Why do some artists feel like playing the music that made them famous (yes, mass market) is below them? It was more like a funeral dirge for the 1:15 that we stuck it out. Could do without the politics, too.

HE DIDN'T SING HIS BEST SONG 'STAY'!

I was very disappointed by the Jackson Browne show on July 2nd. In the first half, he sang a series of low energy songs that kept the crowd seated and applauding politely. The second half had more energetic songs but the song choices did not build momentum. His last encore was not even his song. It was a Tom Petty song. At the end, I was just standing there waiting for him to come back out to sing 'Stay'. He never did. This was a very disappointing show.

JACKSON BROWNE AT ST. LOUIS MUSIC PARK

Jackson Browne disappointed as he only played about half dozen songs that I’d ever heard. The hits he’d did too were good just too few. Most of the stuff he played was not very good and St. Louis Music Park is a terrible, terrible place to see a concert, particularly if Hollywood Amphitheater also has a show, which 5hey did on this night. Reo and Styx drew about 15,000 and traffic was absolutely terrible.

VERY DISAPPOINTED !!!

He talked more than he played any songs. If you weren’t directly in front of stage you couldn’t hear a word he was saying. No screens up to allow people to see any close ups and maybe get a better feel for what he was saying and get into it. He played songs that most people didn’t know and then we left. I guess the winery wants the musicians to play their hits later in their sets so they buy more wine. Won’t be visiting that venue in the near future and was very dissapointed as many people recommended the venue. Maybe I guess I’m getting a bit too old for this shit ! Didn’t see any Value in this concert !

JACKSON AT ST. MICHELLE WINERY

Very disappointed. I have seen many amazing shows of his from his early shows in San Diego, LA, and others. This was by far his weakest performance. Low key first half with songs most did not know. We sat maybe thirty rows back and only polite applause. No juice provided by band. Maybe three or four of his great tunes second half of show but no build up or effort to excite the crowd. In baseball parlance seemed like he lost his fastball.

COLUMBUS CONCERT

I have seen JB many times and this was very disappointing concert I can remember! He had no energy , the song selection was poor! We all spend our hard earned dollars to hear great music to hear his new music and the hits! I hope he was just having a bad night!

LUCIOUS RUINED IT!

spent a lot go time and money to see Jackson Browne, but unfortunately Lucious RUINED it! Jackson had a FANTASTIC bad and Back up singers, but this stupid duo, wearing log sleeved black turtlenecks on a hot 80 degree night, staring ONLY at each other, and never the audience. What the F___? They sang almost as many songs as Jackson! Really? Such waste of time and money! I am so sorry we went. NEVER EVER again.

SO VERY DISAPPOINTED LAST NIGHT

Took my daughter to see Jackson Brown. She was so excited for this concert! Even bought a shirt on the way in! We both go to a lot of concerts but this was THE one for her. All I can say is I felt he was very self indulgent and in no way was he "Reading" his audience. We all knew why we were there. We wanted to hear all the songs we loved from him! TBH, his music was boring and it all sounded like one long song! That was a theatre of very disappointed fans by the end of the night. Jackson, you had a chance to bring a lot of joy to people last night and you chose not to. I hope anyone thinking about buying a ticket reads these reviews and knows what they are getting into. Seriously, she asked if she could take the shirt back on her way out. Do better...

Worst concert I have attended in 30 years. Said he was playing with half a band…. we didn’t get half a refund. He had no feel for the fact that he was putting everyone to sleep…. No connection with the audience at all…….sad!

MOSTLY BORING

Most people go to hear the music that made singers famous. He doesn't do that - for whatever reason. Second and last concert of his we will ever go to. Unless perhaps your a die hard JB fan you won't like his live concerts - he just does mainly all the boring songs that you never heard of and don't want to hear again. Concert was painful.

We were very disappointed in our show :( People were yelling at him from the seats making requests for songs (they were disappointed in him playing new material). He actually stopped and started several times due to these interruptions and changed the song order, which led to confusion on the stage. There didn't seem to be a well thought out curation of his music for the concert. We actually left early.

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James Taylor w/ Jackson Browne [Concert Review]

Brian Q. Newcomb | August 9, 2021 August 9, 2021 | Concert Reviews , Reviews

James Taylor & His All-Star Band w/ Jackson Browne: Wright State Nutter Center; Dayton, OH – Wednesday, August 4, 2021

Given the boyish grin on 73-year-old James Taylor’s face throughout his 90 minute set in front of the mostly full Nutter Center arena on Wednesday night, it would be hard to say who was the happiest to have live music concerts return, the singer-songwriter or his committed fanbase in the audience. It’s noteworthy that Taylor’s big break as a folk troubadour came with his sophomore album in 1970, which included the classic title track lullaby, “Sweet Baby James,” and perennial oldies radio highlight, “Fire and Rain.” By the late 70’s, Taylor had cultivated a more sophisticated pop sound with hits like “Shower the People” and “Your Smiling Face,” but rather than deliver a long string of his hits from the last five decades, Taylor’s song choices reflected a desire to emphasize his songwriting craft, leaning to some of his deep tracks.

Before Taylor and his band were revealed behind a sheet that allowed for projection of a brief film of various people covering some of Taylor’s songs and saying how much his music has touched their lives, followed by a fiddle solo by bandmember Andrea Zonn that revealing a connection between Irish music and that from the rural America. That fed very nicely into “Country Road,” featuring Taylor’s full ensemble and revealing the large projection screen and movable lights that would contribute to the vibe on stage throughout the production. As in year’s past, Taylor concludes that piece with some vocal vamping which on this night had the added funk of drummer Steve Gadd. Then after expressing gratitude for the audience showing up to make a tour like this possible, Taylor suggested that at his age he’d considered retiring from live touring but said that after the pandemic shut-down that forced the postponement of this show’s date by more than a year, he’d concluded that “I’d really miss it a lot if I had to do without it.”

Then pulling up a stool and finger-picking his acoustic guitar with inimitable style he introduced the little-known song, “That’s Why I’m Here,” explaining that the second verse was written for comedian John Belushi at the time of his premature death. He followed that with “Copperline,” a long-time concert favorite that featured more of Zonn’s fine violin playing, and then the rarer “Never Die Young,” which Taylor said was a selection inspired by the virus. “Mexico,” another classic fan favorite that shows up on lots of Taylor “best of” and “live” albums, got a big production treatment as the raucous Latin flavored pop song featured an extended percussion solo from Michito Sanchez, while colorful flags flew on the backdrop.

Taylor than returned to a couple lovely numbers from the deep tracks category, “You Make It Easy,” and “Line ‘Em Up,” with its lyric about Nixon’s criminal Presidency. At this point, Taylor traded in his standard acoustic for an electric guitar, pausing to give a shout out to Chuck Berry, saying that the electric guitar had become synonymous with “our generation.” Taylor led his band into the bluesy “Chili Dog,” but the song segued pretty quickly into a long-time favorite of Taylor’s concerts, “Steamroller Blues.” The band dug in especially hard here, grinding the slower blues rhythm with intensity, and strong solos from Blues Brothers’ veteran “Blue Lou” Marini on sax, Hammond organ by Young, and at the end some blazing guitar interaction with Mitch Laudau, who fell to his knees, egged on by Taylor and bassist Jimmy Johnson. Taylor has always used live performance to show off his bluesier soul singer side, and back in the day “Steamroller” offered a prime opportunity to let loose with a string of swear-words during a long vocal vamp near the song’s climax. But over the decades as parents started bringing their children to his shows, Taylor moved to less distinguishable words, and tended to skat sounds the tended to rhyme with favored curse words… a curious, often enjoyable trait that showed up near the end of several numbers on Wednesday night.

Then, by way of mentioning his last album, 2020’s “American Standards,” which was originally mailed out to everyone who bought at concert ticket for the original show date, Taylor acknowledged that due to the pandemic the album was released in February and just “fell down a deep well, disappearing from view,” Taylor introduced “Easy As Rolling Off A Log,” perhaps the least recognizable track on that album of covers. Taylor said he learned the song from a Warner Bros. cartoon from the 1930s titled “Katnip Kollege,” and the song had a jazzy, swing feel and benefitted from “Blue Lou’s” era-worthy clarinet solo, while the original cartoon played on the big screen.

But then, Taylor sat down on his stool, rolled up his sleeves, and pulled his acoustic close and got down to the business that brought out his fans, starting out with his namesake lullaby, “Sweet Baby James,” you could begin the feel the crowd singing quietly along about the “deep greens and blues” and how “singing works just fine for me.” That trend got turned up a notch for a lovely rendering of “Fire and Rain,” which featured a lovely acoustic solo from Landau. “Carolina In My Mind” followed, a song which dates all the way back to Taylor’s 1968 debut for Apple Records, as he was the first American signed to the Beatles’ fledgling label. McCartney and Harrison were part of the “holy host of others standing around me,” who sang uncredited on the original recording. Taylor & Co. closed out the set proper with two big pop hits, “Shower The People” and “How Sweet It Is (To Be Loved By You)”, which benefitted nicely from the strong brass feel of Marini on sax and Walt Flower on trumpet, and a big, strong finish centered on the explosive drum work of Gadd.

The band returned to encore with one of Taylor’s most powerful works, “Shed a Little Light,” a tribute to the life and work of Martin Luther King. Here, Taylor started to a cappella vocal intro surrounded by the five backing vocalist who had been providing the wall of harmony choral treatment throughout the show, Zonn, Kate Markowitz, Dorian Holley, long-time Taylor band favorite Arnold McCuller, and Taylor’s 20 year old son, Henry. Of course, the lengthy mid-section of that song takes us to church with the soulful R&B vibe which turned McCuller loose for a powerful vocal solo, before returning again to the voices alone in rich choral harmony, with Taylor’s warm recognizable tenor out front.

For the final two encores, Taylor brought Jackson Browne back to the stage, as they played one of Browne’s earliest hits, written with The Eagles’ Glenn Frey, “Take It Easy,” with Taylor’s band emphasizing the country vibe in the track with solos on guitar and violin by Landau and Zonn. Then they closed out the fun evening with the 50 year old classic by Carole King, “You’ve Got a Friend,” which was a hit for both King and Taylor. As Taylor and Browne and Taylor’s massive entourage stood arm and arm to bow, the two veteran rockers were both beaming, grateful after all this time to be able to bring their music back to the stage and play for their fans. The experience, as is often the case at Taylor’s shows, the music and the event center around a message of friendship, community, and the hope for a better world, values rooted in the “peace & love” movement in the 60’s, that spawned both of these veteran artists.

For his part, Browne hit the stage for his hour long opening set with as much of an all-star band as Taylor had advertised, most noteworthy being the two guitarists with whom Browne recorded his brand new studio album, “ Downhill From Everywhere ,” much in demand lap steel guitarist Greg Leisz, and Val McCallum who I last saw playing in Sheryl Crow’s band. Fitting for one of the first tours after the shut-down of the pandemic, Browne and company opened with the strong rocker, “I’m Alive,” with Browne on acoustic guitar and in excellent voice with fine harmony vocals from keyboardist Jeff Young. “The Long Way Around” followed, another rocker with soulful Gospel vocal harmonies from Chavonne Stewart and Aretha Mills.

Someone had already called out for the classic track, “Fountain of Sorrow,” so Browne wasted no time getting to one of his signature hits, moving to the piano but playing the song with a faster upbeat tempo than expected. It’s funny, I had read a review of the tour from the daily paper from Pittsburgh where they had played the night before, where the critic had called him “one of the dullest performers in The Rock and Roll Hall of Fame,” and suggested that while Browne “still has pleasant pipes, and all the playing is (well) mannered and precise, the band even seemed a little bored.” It’s been decades since I’ve seen Browne perform, but while his music is serious and often somber in tone, I’ve never found it boring. I can’t guarantee that Browne or his band read the same review I did, but on Wednesday night, they were on fire, and rock with intentionality, talent, and spark. A piano player Jason Crosby slid into place after the piano kicks off the closing stanza, and Browne moved to acoustic guitar and sang the last verse from mid-stage before McCallum finished the tune with a blazing guitar solo attuned to the punchy rhythms of veteran Browne bassist Bob Glaub and drummer Marcio Lewak.

For the playing of “Downhill From Everywhere,” both McCallum and Leisz were on electric guitars, leaning heavily on what sounded like wah-wah pedals to give the environmental rocker an extra bit of punch. They followed with two more from the fine new album, the catchy pop/rock single, “Cleveland Heart,” and then Browne brought the Stewart and Mills up front to share in the Gospel leaning vocals for “Justice Is Real.” Then going all the way back to Browne’s 1972 eponymously titled debut (which I always thought was titled “Saturate Before Using” because of those words on the album cover), Browne moved back to the piano for another up tempo version of his classic “Doctor My Eyes,” and then after the verses, as I remember for Browne’s tours with great musicians in the 70’s, he left lots of room for big solos from his able stable of players.

Browne stayed at the piano for “Late For the Sky,” the title track of his 1974 album, with the album photo projected on the screen above the stage, this time the stately ballad was played slower to fit the mood of the piece. Then James Taylor joined Browne on stage for a duet on “The Pretender,” trading the vocals back and forth, but harmonizing on the line, “Get up and do it again.” On Wednesday night, the female background singers responded at the appropriate time with “get it up again,” which cracked me up like I was hearing it for the last time, but my wife assured me that lyric was always part of the song. As Taylor left the stage to prepare for his headlining set, Browne, said “’scuse me, I’m going to pinch myself,” thanking the crowd again for coming out after the long 16-month pandemic shutdown.

Then to cap off, Browne’s set the band dove in to “Running On Empty,” again the title track of that classic, mostly live album, with Leisz on lap steel playing all the expected David Lindley parts, and he and McCullum pushing the band to the songs necessary ecstatic heights. A triumph of an opening set from the 72 year old, who somehow manages to still have that classic hairstyle.

It was a strange, yet lovely thing to be back in a crowd at a live show. We wore our masks, as did about 15% of the crowd, which is worrying with our state in a red zone and news of the rampant spread of the Delta variant of the COVID virus. Here’s hoping folk decide to embrace the vaccine as the way to escape this challenging pandemic, and that we can get out to live shows in the months and years ahead. On this night, the two sets from these veterans of LA folk rock was like a breath of fresh air.

-Review by Brian Q. Newcomb

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Q&A with Jackson Browne

During 1966, photographer Nurit Wilde, “Sweet Nurit from Lookout Mountain Street,” touted Jackson Browne songs to Fairfax High School teenagers in West Hollywood and Laurel Canyon.

In 1967 Wilde took the first portrait pictures of Browne. One session was done at the Orange Julius stand on Santa Monica Blvd. in West Hollywood and another at the home of Laurel Canyon-based talent manager and music industry mensch Billy James, who always championed Browne’s songs. As a 16-year-old, Browne attended the ’67 Monterey International Pop Festival. Two of Nurit’s photos are displayed in my 2008 book Canyon of Dreams The Magic and the Music of Laurel Canyon.

Browne eventually secured a publishing deal with Nina Music/Elektra Records, who placed his tunes on LPs by Joan Baez, Tom Rush and Steve Noonan. Nico and the Byrds also cut his songs.

Multi-instrumentalist Chris Darrow first encountered Browne during 1966-1968 when Darrow was a founding member of Kaleidoscope and then joined the Nitty Gritty Dirt Band.

“Jackson would show up at our gigs. Always the singer-songwriter, he set himself apart from his contemporaries at the time,” recalled Darrow in a 2008 interview we did.

“His boyish good looks and his ability to write lyrics that were beyond his age gave him an identity all his own. He had both memorable lyrics and hooks that made his music stand out against the more sensitive singer/songwriters of the time, who tended to be more introspective and insular,” underscored Darrow. “The great singer-songwriters, from Dylan to James Taylor to Leonard Cohen, all have the ability to write personally in a way that makes their words seem to speak to everyman. Browne’s second album was called For Everyman, and he became , along with the aforementioned, the front man for the singer-songwriter movement in California in the 1970s .”        

Musician and photographer Henry Diltz further praised Browne to me in the late '60s after Diltz was the set photographer for the second season of The Monkees television series. My mother Hilda worked for Raybert Productions who produced The Monkees series at the Columbia-Screen Gems studios at Gower Gulch. Henry and I have fond memories of Frank Zappa, Godfrey Cambridge, Julie Newmar, Rupert Crosse, and Tim Buckley, an early influential singer-songwriter on Browne, taping episodes.

I first heard and met Browne at Doug Weston’s Troubadour club in West Hollywood and McCabe’s Guitar Shop in Santa Monica around 1970 and just a bit later around 1971. Browne had a studio apartment in the Echo Park/East Hollywood area.

    "I first knew Jackson Browne when he lived around the Hollywood Bowl,” remembered Diltz in a 2008 interview we did. “Gary Burden, my partner and graphic artist, and I were hired by David Geffen to go over to this young songwriter's house and take some pictures of him around March 1971. "We had a beer and talked for a few minutes. Jackson said, 'You want to hear some of the music?’ And he went in the living room and he sat down at a grand piano and played a chord. ‘Holy shit!’ Being a musician I loved the music and was enthralled by it. “He sat down there and played ‘Rock Me on the Water.’ Blew my mind. My jaw dropped. I got chicken skin. Goose bumps,” confessed Diltz.

Since his 1972 debut album Jackson Browne , he has been hailed as one the Greatest Songwriters of All Time by Rolling Stone. Known for era-defining hits like “Running On Empty” and “The Pretender,” as well as personal ballads like “These Days,” Browne’s catalog has sold more than 18 million records in the United States alone. He’s an inductee in both the Rock and Roll and Songwriters Hall of Fame.

Downhill From Everywhere is Browne’s first new album in six years. Recorded at Groove Masters in Santa Monica, CA, it was produced by Browne, recorded and mixed by Kevin Smith. Mastering was by Gavin Lurssen and Rueben Cohen at Lurssen Mastering in Burbank, CA.

   Downhill From Everywhere was cut with a core band that included guitarists Greg Leisz (Eric Clapton, Bill Frisell) and Val McCallum (Lucinda Williams, Sheryl Crow), bassist Bob Glaub (Linda Ronstadt, CSNY, John Fogerty), keyboardist Jeff Young (Sting, Shawn Colvin), and drummer Mauricio Lewak (Sugarland, Melissa Etheridge).

Downhill From Everywhere houses expressions of doubt, connection, purpose and longing, all while maintaining a defiant sense of optimism that seems tailor-made for these chaotic times. Browne explores environmental and socio-political themes: Human existence, clean air, fresh water, racial equity, democracy, and border concerns––topics he’s examined on occasion in his illustrious catalog.

The following Music Connection interview was recorded in May 2021.

Music Connection: I know many decades ago you wrote songs on piano or guitar, and the lyrics on some paper, or typewriter before computers. But on this new album, much of the writing process took place in the recording studio. Not demo to master steps.

Jackson Browne: To me, I am continually discovering that any number of things or any number of decisions are interesting and valid and you can pursue them. You just have to be open to what you are feeling and what you are hearing. It’s all trial and error for me. I don’t really have a dogma that I approach or adhere too. Keep your ears open.

Songwriting is a mysterious thing. Sometimes it feels a bit like consulting the oracle. As a songwriter, you want to catch people when they’re dreaming. You want to find a way into their psyche when they don’t see you coming. On the new album it changed a little bit. I write on a legal pad with a pencil. And at a certain point I used to write the whole song out line for line to see what I had.

What I found out a couple of albums ago was that it would be really great to see it typed. And I would be easier to see what was there instead of my terrible handwriting.

I read a lot, and to read it typed out double-spaced helps me see what the lyrics got. I rarely start writing out the song in a word processor until it is pretty much half written or if I got something. I use my phone now. The voice memo to my phone. And I sometimes put the voice memo on and record whatever. Not think about it. Then I’ll have a series of these voice memos that contain the search. “Right! Voice Memo 395.” I’ll write that. Let me figure it out. I didn’t start doing that until the last album.

As a matter of fact, the song I started to do that on was “Minutes to Downtown.” That was a song I started a few years ago. And when I started looking for the thing I was looking in the wrong year for this initial voice memo. There it was. One of the first voice memos on my phone.

I’ve actually written stuff that I’ve written one track at a time and shaped it. The long way around. From the beginning I used to use a cassette player. In the beginning I had cassettes I wrote with. After cassettes I started using Minidiscs, and they stopped making the damned MiniDiscs (Laughs). I have boxes. What I liked about the MiniDiscs was that they had ID’s. You could actually label things and go eight to them looking for a song. Now with the voice memo it is perfect for me.

MC: Tell me about working and bringing your songs to fruition with band members in the studio.

Browne: I rely on the players I’m playing with to uncover what is in the song. It’s always been that way. The music is informed by the way that everyone interacts with it in the room, and there’s this journey of exploring and cutting and re-cutting that can lead you to places you never would have ended up at on your own.

In the studio I very often record a song that is not finished. All the lyrics might not even be there. But I want to know what the song can do. Before I finish the lyrics. That happened a long time ago. I’d written a song by myself with a guitar in a room in Spain. And what you do to make a song finished with one instrument is develop the lyrics. So I get back to go play it with my band and I realize that I don’t want to hear a second verse I want to go right to a chorus. And I have to throw that verse away. And that changes everything about the song. But it’s clear that I don’t want to hear the band play two verses and then go to a chorus. I wish I had that information.

It goes back to “The Pretender” where I realized a song that I thought was finished was still malleable. I could make a change in the structure of the song not in the studio. To me, that was hair-raising at the time, because in those days it was more formal. The idea of calling a session on the people that you have there and the amount of time you had to work in and what you are paying them was more imposing.

In the case of “The Pretender,” Jeff Porcaro and Craig Doerge played something that meant I needed another line. I had a two-line phrase and if they did that it needed another vocal line. And Jon Landau, who was producing that record said, “This is great.”

They are doing this dynamic thing “but you know I’m gonna have to add another line…” Jon looked at me and laughed. “Well, you’re a writer.” It was easy. So much happens in the studio that it would be all right to go into the studio with a song that was not quite written.

MC: You have clear-sounding vocal performances on this new album. Did you change your diet? There is such clarity and direction, almost Indian guide-like precise vocals on the navigation.

Browne: [Laughs]. I don’t mind telling you, but I started working with an app from the wonderful singer Arnold McCuller [vocal trainer] who has worked with James Taylor for all the years. This app has given me a way to train my voice and listen to my voice. It’s a bunch of exercises.

When I first started, I could do it okay, a few simple sessions. And I’ve been doing that. I kind of came into my voice. I just kind of go ahead and learn how to sing at the end of my career. What the hell. (Laughs).

That experimenting with my voice and the palate was something that went on during the making of this new record. And that is as much a part of developing the songs as writing them. I’ve always done the best I can with what I’ve got. But I wish I had known at the beginning of my career how I could develop my voice. I’ve always tried to be a better singer, but that sometimes resulted in me trying too hard. If I listen to the way I sang on Late For The Sky that whole album I hold notes embarrassingly long. I sing too strongly at times when I could have sung something much quieter.

MC: Let’s further discuss Downhill From Everywhere.

Browne: What I think that this album comprises is a record of the search. Each case and each song represents an individual journey or subjects. “The Dreamer” I started writing many years ago and I had the music, but the subject of immigration was a hot button subject a long time ago. You had the vigilantism on the border. And I was gonna try and write about that. It could get very hard to try and tell the story. I thought I could sing about somebody who has a job here and a family there.

There are songs like “Love Is Love” and “A Human Touch” that represent embracing a subject more than finding a way of talking about it. All of these songs are in the present tense, which has not really happened in one of my records before. I realize they are an attempt to, in the present, come to terms with an issue that is important to me.

On the song “Downhill From Everywhere” I wanted the song to be a great track that you didn’t have to listen to or if you did, literally for five seconds, you’d get something from that, the juxtaposition of images. That represented a more cubist or abstract way of putting imagery together. Yet there is an overarching sense being made, hopefully. Each of these songs represents a search to uncover, to answer a question for myself.

There’s a deep current of inclusion running through this record. I think that idea of inclusion, of opening yourself up to people who are different from you, that’s the fundamental basis for any kind of understanding in this world.”

I think racial and economic and environmental justice is at the root of all the other issues we’re facing right now. Dignity and justice are the bedrock of everything that matters to us in this life. Then there is also the fact that there is the challenge we face as a country to try and solve the problems that have been with us since its conception. We’ve got a deep flaw in our DNA as a people that we have to address.

I see the writing on the wall. I know there’s only so much time left in my life. But I now have an amazing, beautiful grandson, and I feel more acutely than ever the responsibility to leave him a world that’s inhabitable.

MC: Los Angeles, California and Barcelona, Spain are central topics and perhaps at the core of this new work. Like “Minutes to Downtown” and “Song For Barcelona.”

Browne: Yes. I’d say Barcelona is a city that I really love and I inherited a kind of apartment there. It’s sort of a city that I grew to have a history with. I wrote the song part there and part in Los Angeles. I always assumed I was going to record it there. I even booked a studio and set a recording date and then I couldn’t go. Actually did that twice. And each time I had to cancel those plans and realized practically speaking I had to record it in L.A. But I also realized it was more appropriate to record it with my band because we all love Barcelona. It was more appropriate to be a person from California singing a tribute to Barcelona was going to be more value there. I have some really good friends in Barcelona.

MC: I want to ask you about Bob Dylan who definitely is in your DNA. Music Connection is displaying reflections and observations about Dylan from my archive celebrating his 80 th birthday.

Browne: What Bob Dylan did for me, everybody and our generation, it will never have to be done again, you know. The way he opened up our thinking and our feeling and our view of the world only has to be done once. Maybe it’s done in other fields like film and painting and other art. As a people we’re constantly growing, expanding but the changes that Bob Dylan brought to rock & roll and songwriting are permanent. They’re part of us. People who are just being born into it now are being born into a world that wasn’t that way until Bob Dylan made it that way.

It’s a particular skill to write something in a few words that speaks volumes. It is very difficult to say how I feel and how I think about Bob Dylan in a few words.

MC: Guitarist Val McCallum. The weaving he does with bassist Bob Glaub and Greg Leisz is wonderful.

Browne: I’ve got some great players to work with. It’s pretty thrilling to work with someone like Greg Leisz. He’s a multi-instrumentalist and to decide with him what instrument he’ll play or talk about the register.

Val is unique. Very little words can do to describe what he does. He is the guy who is willing to go out on a limb and crash and burn. He is so thrilling and he plays something different every time, of course. What is going on between Val and Greg is amazing; they really listen to each other. It’s like they’re in duet.

They are over there on the same side of the stage, they play next to each other, so they really hear what the other is doing. And of course, they are playing the song, and I’m pretty much playing the same thing all the time. What varies with me is maybe the emotional charge or the degree, which I almost never change the melody or the phrase that I’m singing. They’re the ones that put this fresh music together each time a song is played. And they listen to each other intently and also crack each other up, because they both are so good. They support each other.

We go through and designate who is gonna solo on a particular place, but that’s only the beginning of the story. They wind up accompanying each other sonically in terms of register.

Sometimes with Greg, where I do shows and he is my only solo accompanist, sometimes we forget what different instrument he’s gonna play and we discover something in the song or just the tunings that he uses. It’s a very fertile environment to be playing in a band with these guys. I don’t know how to talk about music. I just notice the most fundamental things.

At one point we did a particular gig with this band and I hadn’t played with Bob in many years. And the combination of him and Mauricio Lewak was really distinct to me. Wow. He really changed what Mauricio was doing. Bob plays a particular way. I’ve done songs with Mauricio and we’ve cut them with some other drummer a few times. Or I called Jim Keltner, who took it to another place.

MC: You’ve worked with some terrific engineers over the decades, including Al Schmitt and Greg Ladanyi.

Browne: Early on I produced myself and worked with an engineer. They were rare occasions where I used a producer. Those were maybe learning experiences to work with someone whose job it is to chart a course and co-navigate a song. I don’t involve myself that much in the miking of drums. That’s an engineer’s job. And in some cases, what I’m deciding about is the register of an instrument or what goes on with the players.

MC: You have some scheduled tour dates for 2021. How do you select a concert repertoire or pick a set list? Does management make suggestions or does the playlist come from band members or even fan mail? You have this body of work, and there are obligations to play hits as well as deep catalog.

Browne: I should start by saying I’ve tried every which way and anyway you can possibly try it. I’ll give you an idea of some of the approaches. No set list. Or just call a song if you are playing by yourself or with one other person who knows your songs really well. And you can just say, “You know, we’re not really doing a set.” Or I’ll let the audience know early there is really no set list. I’ve done that for a while, and after a while my audiences are expected to call some songs, but you start to feel like a juke box, so maybe that is not the best way either.

I’ll say, for a long time, I thought I had to play all my new songs. I’d make an album and go out there and play, but I had a good friend tell me, “That is not a good idea. Some people are there to hear what they already love. You can’t just play them a bunch of new material. You gotta give them a chance.” And he said we [should] never play more than two new songs. Never. Think about it. That was Scott Thurston of [Tom Petty and] the Heartbreakers. That is a useful example to me. I love the Heartbreakers and when I’d go see them and they are playing songs from their entire body of work and those two new songs. And that was a very influential teaching moment. A learning moment for me from Scott.

Also, when it comes to picking, very often I’m not the best judge of how the songs go together. ‘Cause I think in terms of getting from one song.

The guy who is most helpful to me in that is Val McCullum. He is super- opinionated about what should come next and what should be included in the set and very like eager to interact with me and help plan the set in recent years. And he’s really right about a lot of things and trying stuff. It’s all intuitive, you know. What do you want to happen next? Not everybody cares.

It matters sometimes whether or not you can set up, getting from one instrument to the next. I’ve got to reach for this guitar, so I can’t do those two songs next to each other, putting a song in between. That’s a practical consideration. It does matter. Or I’ll be thinking stuff like I don’t want to do two songs with the same tempo back to back. It’s a mysterious thing. I enjoy getting everybody involved and everybody gives you feedback. If you do a particularly great set, “That one really works when we went from that song to that song.” It’s a band and everybody expresses an opinion about it.

MC: There is a different sonic aspect to your new album. I’d like to talk about some technical stuff.

Browne: Well, I’m the least technical guy. [Laughs].

I learned a lot this time; for instance, the search for the right mic. I had a really favorite microphone that was a Telefunken 251 that had been modified by Stephen Paul. This was in the past. He was always making these mics with super-thin diaphragm. I’d get this, but eventually something damaged it. It got a little perforation and the tiniest speck of a hole in it and suddenly it didn’t sound the same.

In engineering there is trust all the way down the line. The proof is what you can hear, you know. I learned a while back that I do know and can hear it all; I just don’t know what it is. When that mic got damaged, I got it fixed and it was very different. And then Stephen said, “I can put an EQ into your mic.” And I said, “Stephen, I don’t want an EQ,” and he replied, “Well, it has an EQ in it.” “Oh God, I didn’t know that…” You think everything has got some kind of response built into it.

So cut to the present, there was a mic he did at the same time. An AKG C-12 and it didn’t sound good with me. ‘Cause it sounded too bright, but I kept it because two other people who worked in the studio really liked it: Jennifer Warnes and David Crosby. They thought it was great and perfect for their voices. So I wasn’t always looking for a mic for me. When I couldn’t use the Telefunken 251 anymore, I tried that mic and suddenly that became my go-to mic. And what had happened was that my voice had changed. And the way I sang. I began working with exercises and stuff, and my voice suddenly sounded good with this microphone. And I thought, “Oh good.” That is still my go-to mic.

And in the middle of working on this record. Kevin Smith, who recorded and mixed the album, wanted to try something else. I think it was a Neumann U-47. I tried it and really didn’t think it was right. He said, “Sounds really good to me.” “Okay… Today we’ll sing on this mic and we will see what we get.” And my ears had to change to appreciate it, because I was always so addicted to the high end of the AKG C-12 that nothing else sounded right. It didn’t have the definition or presence. And the Neumann U-47 is a great mic. But I had to trust Kevin. He looked at me, “Yeah…This sounds good.” I’m laughing, “Okay. Go with it.”

Anyway, so I went through that kind of search, and on this record there are several different mics used. And in the end the mixing engineer is going to EQ the vocal the way it’s right with the track.

MC: What are your 2021 plans and projects in motion?

Browne: I’m working on a movie about drumming. I’m working as a producer with a director on a film about playing the drums. I’ve had the great fortune to play with some of the great drummers in rock & roll: Jim Keltner, Jim Gordon, Russ Kunkel, and Jeff Porcaro, so I appreciate them deeply. I don’t understand them, so I don’t really know that much about it. I rely on them but I don’t know exactly what I’d like to know. I’m a good sort of collaborator for a film on that subject, ‘cause I deeply want to know. That’s something that is quite a departure for me and a lot of new terrain.

And I have a love of traveling and hope to get back to Spain and to Haiti. And I want to go to places I’ve never been before. I hope we can get back to traveling safely. I really want to get back to work. There are plans for touring, which is a major thing, and to be able to play again.

Contact [email protected]

Jackson Browne will be on tour this summer and fall with James Taylor. Browne will also be doing some solo dates. For complete tour info, visit jacksonbrowne.com .

HARVEY KUBERNIK is the author of 19 books, including Canyon Of Dreams: The Magic And The Music Of Laurel Canyon and Turn Up The Radio! Rock, Pop and Roll In Los Angeles 1956-1972.  

Sterling/Barnes and Noble in 2018 published Harvey and Kenneth Kubernik’s The Story Of The Band: From Big Pink To The Last Waltz. For October 2021 the duo has written a multi-narrative volume on Jimi Hendrix for the publisher.

In 2015 Palazzo Editions published Harvey’s Leonard Cohen: Everybody Knows, and Neil Young, Heart of Gold published in 2016. Otherworld Cottage Industries in 2020 published Harvey’s book, Docs That Rock, Music That Matters.

Kubernik’s writings are housed in book anthologies, most notably The Rolling Stone Book Of The Beats and Drinking With Bukowski.

Harvey wrote the liner note booklets to the CD re-releases of Carole King’s Tapestry, Allen Ginsberg’s Kaddish, Elvis Presley The ’68 Comeback Special and the Ramones’ End of the Century.

During 2020 Harvey Kubernik served as a Consultant on the two-part documentary television series Laurel Canyon: A Place in Time directed by Alison Ellwood. Harvey is working on a documentary about Rock and Roll Hall of Fame member singer-songwriter Del Shannon. Harvey was filmed for the documentary in production about Hollywood landmark Gold Star Recording Studio.

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James Taylor and Jackson Browne, on joint tour, embraced by Taylor Swift, Phoebe Bridgers and new generation

Their joint 2020 tour, which was pushed back twice because of COVID-19, stops in San Diego on Nov. 1

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Whether walking down a country road or running on empty, few people in the 1970s would have bet that two of the era’s most popular and revered singer-songwriters would still be touring and recording, five decades later, in their 70s.

But James Taylor and Jackson Browne have defied the odds. Their joint 2021 concert tour — postponed from last year because of COVID-19, which Browne contracted and has recovered from — includes a Nov. 1 performance at Pechanga Arena San Diego.

Taylor’s and Browne’s best songs have become part of the fabric of American life for millions, shared with children by parents and grandparents. Transcending nostalgia, their music’s cross-generational appeal is a matter of record.

Witness Browne’s guest vocal spot early this year on Phoebe Bridgers ’ song, “Kyoto.” (Bridgers, 27, returned the favor by appearing in the video for Browne’s recent video for his song, “My Cleveland Heart”).

And witness Taylor’s duets with his partial namesake, Taylor Swift , at her 2011 Madison Square Garden show. More recently, the elder Taylor’s 2020 appearance as a Mega Mentor on the music TV series “The Voice” saw two contestants young enough to be his grandkids react with “pinch me!” giddiness when they met him.

Undeniably, the majority of Taylor’s and Browne’s concert audiences still skew primarily toward the baby-boomers who grew up with them. Their status as two of the quintessential singer-songwriters of their generation remains largely undiminished, half a century later.

Taylor’s and Browne’s continuing careers make them notable exceptions to the rule when it comes to the array of solo artists who rose to prominence in the 1960s and early ‘70s.

Some of those artists have retired ( Joan Baez , Paul Simon, Bob Seger), while some are no longer able to perform because of health reasons ( Joni Mitchell , Neil Diamond, Linda Ronstadt).

Some have persevered as cult artists (Garland Jeffreys, Eliza Gilkyson, Loudon Wainwright III). Others have died ( John Prine , Bill Withers, former San Diegan Jim Croce and far too many more).

‘Fire and Rain,’ ‘Lives in the Balance’

That Taylor and Browne, both 73, have endured is a testament to their perseverance, good fortune and the continuing allure of such classic songs as Taylor’s “Fire and Rain,” “Sweet Baby James” and “Millworker,” and Browne’s “The Pretender,” “These Days” and “Lives in the Balance.”

To put their longevity in perspective, The Beatles were still going strong when Taylor’s first solo album was released in Europe in December 1968. It came out, incidentally, on The Beatles-owned Apple Records label and Paul McCartney and George Harrison both performed on the album. Taylor was 20 at the time.

Browne made his recording debut in October 1967 as an accompanist on the first solo album by former Velvet Underground singer Nico. The album featured three of Browne’s songs, “These Days,” “Somewhere There’s a Feather” and “The Fairest of the Seasons.” Browne was in his late teens at the time.

It was just a few years later that Taylor and Browne struck gold — and then platinum — with a succession of hit singles and albums. Taylor’s global album sales now top 100 million, while Browne’s tally is closer to 20 million. Together, they helped fuel the “sensitive singer-songwriter” boom of the early 1970s with which both their names have been inextricably linked ever since.

Both of these now-graying troubadours struck a resounding chord, whether contemplating intimate matters of the heart, life at large, or the beleaguered state of the world around them.

Both Taylor and Browne have been inducted into the Rock & Roll Hall of Fame — Taylor in 2000 by Paul McCartney, Browne in 2004 by Bruce Springsteen — and into the Songwriters Hall of Fame.

Both have regularly donated their time to causes near to their heart, both before and after performing at 1982’s The Concert for Nuclear Disarmament in New York.

Browne’s 1986 album, “Lives in the Balance,” was his pointed musical response to the Reagan presidency — and his first to sell under a million copies. His next, 1989’s “World in Motion,” intensified his political focus. It was his first album to sell under 500,000 copies.

“I’ve spent my life being in touch with human rights and environmental issues, and now they are the same issues,” Browne told the Union-Tribune in 2018. “We all have a right to live in a healthy and safe environment.”

Not resting on their laurels

For listeners who grew up hearing them, Taylor’s and Browne’s most beloved songs offer welcome return trips down memory lane. But neither is resting on their laurels and both have continued making new albums. Since 2002, Browne has released seven albums and Taylor eight, most recently Browne’s “Downhill from Everywhere” (which came out in July) and Taylor’s “American Standard” (which came out last year).

Granted, the days when Taylor and Browne regularly scored Top 40 hits and sold millions of records are now decades past. But both have sustained loyal audiences for their respective concert tours, albeit smaller venues in general for Browne. Taylor, conversely, can still fill large amphitheaters and even stadiums.

Of the two, Taylor has the warmer and more reedy voice, Browne the more plaintive.

Taylor’s supple singing can sound contented or restless, hopeful or regretful, providing a welcome aural balm of comfort and reassurance in even the most turbulent times. Browne tends to be more somber, as befits an artist of conscience whose newest songs find him addressing his mortality as well as the plight of migrants and the ever fragile state of the environment.

Of course, only time can tell how much longer the road will go on for Taylor and Browne, whose joint tour concludes Dec. 13 in Buffalo, N.Y.

But the opportunity to hear them perform full sets with their respective bands on their first-ever national concert trek together is a welcome one. So is the opportunity to hear them sing together in harmony on such favorites as “You’ve Got a Friend,” “The Pretender” and “Take It Easy” (which Browne co-wrote for the Eagles).

Taylor recently acknowledged he had been contemplating retirement shortly after the COVID-19 pandemic began. He has since changed his mind and has decided to continue performing as long as he is able.

Taylor’s rationale is perhaps best explained by the chorus on the lilting title track of his 1985 album, “That’s Why I’m Here,” specifically: Sing it tonight, tomorrow and everyday / That’s why I’m standing (that’s why I’m here) / Oh, that’s why I’m here.

Jackson Browne on music as activism

What distinguishes music from social and political activism for Jackson Browne? Nothing, as Browne told the Union-Tribune in a 2018 interview.

Jackson Browne elated to perform benefit concerts for Quiltman, his Native American musician friend

Jackson Browne was inducted into the Rock and Roll Hall of Fame in 2010 and returned in 2017 to induct one of his early heroes and creative inspirations, Joan Baez.

Feb. 21, 2018

“First of all, rock ‘n’ roll is about freedom,” Browne said at the time. “Whether you’re a teenager who wants to be free, or a person who loves the blues and is beginning to sing, you come to understand what these (rock and blues) songs are about. They’re born of a kind of suffering and the oppression of an entire race over a long period.

“What happened for me is that the first time I heard R&B, it was being played in a room by a bunch of people who were laughing and dancing. I also heard it on the radio in my own White community and loved it. But the first time I heard it was at a party after a Congress of Racial Equality meeting. It was full of Black people, all older than me. I was 14 or 15...

“But there was not just (a devotion to) Civil Rights in our house. We listened to almost nothing but Jimmy Smith (jazz) organ records and (gospel music by) the Staple Singers. So music was very connected with political change in my house. As a kid, growing up, many of our musical heroes were Black — with Louis Armstrong and Ella Fitzgerald foremost among them— and Django Reinhardt, too, who was a gypsy.

“So, there was a commitment to racial justice in the house I grew up in. If you want to say where it began for me, it began with my father saying how much better the world was because of these great artists and activists.”

James Taylor on bucking the odds

James Taylor overcame his addiction to heroin four decades ago. Clean and sober ever since, he is keenly aware how fortunate he is to be alive, let alone thriving, as Taylor emphasized in a 2001 Union-Tribune interview.

“I know very well that I’m lucky to be alive,” he said. “Of course, everyone can say that, unless you’re dead. But I mean, specifically, there are half a dozen sort of episodes I shouldn’t have stood up and walked away from ...

“Was it meant to be, or fated? I certainly feel everything happened the way it was supposed to. I regret having wasted as much time in my addiction as I did. But in one way it probably saved my life — a very risky way. It was sort of a way of self-medicating and allowed me to live in my own skin.

“I didn’t mean this to be an interview about substance abuse. But people who have a real run-in with these things, and have it turn into a problem, they are not doing it consciously. They are doing it because there is some desperation involved...

“My job is being an entertainer. But the thing that I do, and then bring to my job, is a kind of self-expression, a kind of self-navigation ... “I heard someone say the other day, at a (12-step) meeting: ‘That’s when I received the gift of desperation.’ And that was an interesting thing; a blessed burden, or the gift of desperation, that allowed them to finally get out of their rut.

“To me, I was given the gift of desperation. It resulted in my coming up with a way of expressing things for myself that I found very helpful, and it turned out other people could use it, too. And then I developed a craft that allowed me to do other things than just healing work (with music). I was able to do celebratory, or humorous, or angry, or other songs that turned out to be good, too.

“So as a result, I just got sort of led into this thing. The point is, it came from satisfying a very personal need, through me. And through a very difficult, and at times hazardous process, I found a way to put it in front of the public, in a limited way...

“A lot of the material I write tends to be about solace, and tends to have an element that’s in some cases soothing and in other cases about dealing with difficulty and accepting it, somehow. You could say there’s a specific sentiment to what I write — sort of hymns for agnostics — in a very non-specific way. And it’s worked well.”

Did you know?

James Taylor and Jackson Browne were both romantically involved with Joni Mitchell at separate times in the 1970s. Taylor came out unscathed, at least physically speaking. Not so Browne, who — in a 2005 interview with the Dallas Morning News — charged that Mitchell had twice physically attacked him. Either way, he is the unmistakable target of Mitchell’s scathing 1994 song, “Not to Blame”

James Taylor All-Star band members

Jimmy Johnson, musical director and bass guitar

Michael Landau, lead guitar

Larry Goldings, piano and electric keyboards

Steve Gadd, drums

Michito Sanchez, percussion

Walt Fowler, horns and keyboard

Lou Marini, horns

Andrea Zonn, vocals and fiddle

Kate Markowitz, Arnold McCuller, Henry Taylor and Dorian Holley, vocals (Henry, 20, is James Taylor’s son)

Jackson Browne band members

Greg Leisz, lap-pedal steel guitar

Val McCallum, guitar

Jeff Young, keyboards

Bob Glaub, bass

Mauricio “Fritz” Lewak, drums

Alethea Mills and Chavonne Stewart, vocals

James Taylor, with very special guest Jackson Browne

When: 7:30 p.m. Nov. 1

Where: Pechanga Arena San Diego, 3500 Sports Arena Blvd., Midway District

Tickets: $64.50-$130, plus service fees

Online: axs.com

Health guidelines: All ticketed attendees must have been fully vaccinated at least two weeks before the concert or have a negative result from a COVID-19 test (PCR or Antigen) conducted no more than 72 hours prior to the concert.

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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!

• Barricades Of Heaven
• Rock Me On the Water
• Down Hill From Everywhere
• Call It A Loan
• Linda Paloma
• For Everyman
• 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
• Running On Empty
• 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.

If you enjoyed this content, please consider donating towards the running of Ambient Light, covering expenses and allowing us to expand the coverage you love by visiting our PressPatron page .

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He’s coming to Australia late 2023, and I’m tossing up whether to go. The reviews have helped. Thanks.

Hi – Saw the shows in both Auckland and Christchurch. We were in New Zealand for a visit – seeing Jackson was going to be touring there was the impetus but not the whole reason for the trip. I think I’ve been to about 40 Jackson Browne concerts over the years. The first in I think 1973 in California. Opening act for Linda Ronstadt I think.

My husband is a fan as well – he’s v up to about 20 shows. We had the opportunity about 10 years ago or so, to go to a very intimate house concert for a few dozen people at the Holiday Music Motel in Sturgeon Bay Wisconsin. A wonderful concert at a wonderful place.

Anyway – great trip to a wonderful country – absolutely beautiful country filled with friendly people. The concerts made it all the better!

Barbara Zellmer Madison, WI. USA

P.s You wrote a fantastic review – really captured what we saw and heard. The only comment is I don’t think they played “Shape of a Heart”.

Wish they had – one of his best songs. Of course they are all his best songs.

Saw him in Christchurch last night – very similar set list to Auckland. Quite amazing how he continues to shape his old songs that continue to be relevant today. And a class band as well, with Jason Crosby on keyboards.

Met Jackson at the airport in Wellington after his show. Was just standing by himself next to some friends waiting to check in his guitar. Didn’t recognise him at first as he was wearing a face mask, and thought that he was with my friends, so introduced myself and had a chat before realizing who I was talking to.Told him how much I enjoyed his show, and he was very humble and engaging. First saw him 50 years ago, and still in awe.

Still in the afterglow from his wellington gig. A very appreciative crowd came away feeling they had been part of something very special.

Great review Mike. An enchanting evening of listening to a living legend, wonderful music and a superb band.

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Jackson Browne at MCA Melbourne 29 November 2023 photo by Winston Robinson

Jackson Browne Takes Fans on a Deep Dive Journey Across 50 Years #REVIEW

by Paul Cashmere on November 30, 2023

At one point Jackson Browne commented how he “doesn’t think of himself as 75 and doesn’t think of his beard as grey” but that is what a lifetime of success will do to you. For many people in the room (including myself) who started the Jackson Browne journey with his first album in 1972, this show delivered a deep dive across the entire career.

Jackson Browne performed at MCA Melbourne. This was the make-up show for shows cancelled earlier this year when Jackson contracted covid after arriving in Australia. He could have curated the obvious setlist but for the true fan, there were a lot of deep dives throughout the night.

The first six Jackson Browne albums (from 1972 to 1980) were represented but so were the two most recent records ‘Downhill From Everywhere, 2021) and ‘Standing In The Breach, 2014). For Browne, commentary is the lost important part of the art of his songwriting. There is a message in every song. ‘Downhill from Everywhere’ speaks to a world moving backwards. ‘Until Justice Is Real’ also speaks to today with those potent opening words, “Ain’t on your T.V., ain’t on your phone, You want the truth you got to find it on your own.”

It is hard to believe it has just gone 20 years since the passing of Warren Zevon. I’ve got an bootleg of Jackson from the 70s doing Warren’s ‘Werewolves of London’. They were close friends and that friendship lives on with Jackson performing two of Warren’s songs ‘Don’t Let Us Get Sick’ and ‘The Indifference of Heaven’.

‘Call It A Loan’ from the 1980 ‘Hold On’ album was an unexpected treat. The ‘Hold Out’ album was represented three times, with ‘Boulevard’ and ‘That Girl Could Sing’.

That second album ‘For Everyman’ received great exposure with the title track, the stunning ‘These Days’ (written by Jackson when he was 16 years old) and the rock ‘Redneck Friend’. (Fun Fact: Elton John played piano on Jackson’s 1973 recording under the name Rockaday Johnnie). Jackson went overtime at this show so the final song ‘Take It Easy’, the song Jackson co-wrote for Eagles, had to be dropped because of the MCA curfew.

Those first six Jackson Browne albums are must have classics for everyone’s collection. I doubt any true fan walked away disappointed from this show.

Jackson Browne setlist, MCA Melbourne, 29 November 2023

Don’t Let Us Get Sick (Warren Zevon cover from Warren’s Life’ll Kill Ya, 2000) Downhill From Everywhere (from Downhill From Everywhere, 2021) For Everyman (from For Everyman, 1973) Until Justice Is Real (from Downhill From Everywhere, 2021) Fountain of Sorrow (from Late For The Sky, 1974) The Long Way Around (from Standing In The Breach, 2014) Somebody’s Baby (from Fast Times At Ridgemont High soundtrack, 1982) Redneck Friend (from For Everyman, 1973) The Indifference of Heaven (Warren Zevon cover) For a Dancer (from Late For The Sky, 1974) Boulevard (from Hold Out, 1980) The Pretender (from The Pretender, 1976) Call it a Loan (from Hold Out, 1980) Time the Conqueror (from Time The Conqueror, 2008) Too Many Angels (from I’m Alive, 1993) These Days (from For Everyman, 1973) That Girl Could Sing (from Hold Out, 1980) Doctor My Eyes (from Jackson Browne, 1972) Late For The Sky (from Late For The Sky, 1974) Running on Empty (from Running On Empty, 1977)

Encore: The Load-Out / Stay (from Running On Empty, 1977)

Jackson Browne’s upcoming shows:

1 December, 2023, Sydney, Super Theatre 2 December, Mount Cotton, A Day On The Green

https://www.frontiertouring.com/jacksonbrowne

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Tagged as: 70s , Americana , Australian Tour , country , country rock , folk , Frontier Touring , Jackson Browne , rock , USA

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Jackson Browne concert reviews and tour history

• reviews: 12
• rating: 93.5% (13)

Fans' concert reviews Read all

Theater in berlin, germany on mon, 08 jun 2015.

In my opinion it was one of the best concerts so far in Berlin this year. A brilliant band including background vocals and a very inspired Jackson Browne. An evening with great Songs, goose bumps included!!!!

Volkshaus in Zurich, Switzerland on Sat, 06 Jun 2015

I came to Zurich from Ljubljana (Slovenia) only because of Jackson’s Browne concert. The train journey lasted 12 hours (one way) ... … but it was more than worth it! I sat in the first row and relish the masterful concert performance. The guy is still in enviable shape. Score: 10/10 (without a trace of doubt)

Teatro Sociale Como in Como, Italy on Wed, 27 May 2015

http://scuolapasta.blogspot.it/2015/05/take-it-easy-brother-jackson.html

Royal Albert Hall in London, UK on Mon, 24 Nov 2014

Just totally amazing; enjoyed every second of it and could have listened for ever.... :) Over all too soon so hope he comes back in the near future. Honey to my ears.

Glasgow Royal Concert Hall in Glasgow, UK on Fri, 21 Nov 2014

Been going to see Jackson for nearly 40 years and last night's show was up there with the best of them. Brilliant. Loved it

Sage Gateshead in Gateshead, UK on Thu, 20 Nov 2014

Pure perfection, to be lullabied by Jackson!

E.J. Thomas Performing Arts Hall in Akron, US on Wed, 15 Oct 2014

A wonderful show. Jackson Browne is a phenomenal lyricist and story teller. The music is simply outstanding as is the entire band.

The Chicago Theatre in Chicago, US on Tue, 14 Oct 2014

Loved the chatting with the audience. A little more old stuff is preferred and this is the second time I've seen him in a year - would love to hear The Load Out.

jackson browne was having fun last night,great band,great new and old songs,if you get a chance catch this show

Benedum Center in Pittsburgh, US on Sun, 12 Oct 2014

Great mix of old and new concerts

Rated concerts View all

• Frederik Meijer Gardens in Grand Rapids, US Sun, 13 Jul 2014 100% from 1 rating
• Theater in Berlin, Germany Mon, 08 Jun 2015 100% from 1 rating
• Volkshaus in Zurich, Switzerland Sat, 06 Jun 2015 100% from 1 rating
• Royal Albert Hall in London, UK Mon, 24 Nov 2014 100% from 1 rating
• Glasgow Royal Concert Hall in Glasgow, UK Fri, 21 Nov 2014 100% from 1 rating
• Sage Gateshead in Gateshead, UK Thu, 20 Nov 2014 100% from 1 rating
• E.J. Thomas Performing Arts Hall in Akron, US Wed, 15 Oct 2014 90% from 1 rating
• Teatro Sociale Como in Como, Italy Wed, 27 May 2015 90% from 1 rating
• Benedum Center in Pittsburgh, US Sun, 12 Oct 2014 90% from 1 rating
• Glasgow Royal Concert Hall in Glasgow, UK Sun, 14 Jul 1996 90% from 1 rating

Ratings View all

• one of the best: 7 58%
• fantastic: 3 25%
• great: 2 17%
• disappointing: 0 0%
• should've stayed at home: 0 0%

Biggest fans

Jackson browne tour history, about jackson browne.

Jackson Browne was born 75 years ago, on Saturday, 9 October 1948.

Based on our research data, it appears, that the first Jackson Browne concert happened 58 years ago on Fri, 13 Jan 1967 in SUNY Stony Brook - Stony Brook, US and that the last Jackson Browne concert was 1 month ago on Thu, 11 Apr 2024 in Hollywood Bowl - Hollywood, US.

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Jackson Browne Unveils 2023 Summer Tour

by Tina Benitez-Eves March 24, 2023, 8:07 am

Months after wrapping up his international tour, Jackson Browne has revealed an additional run of U.S. tour dates for summer 2023.

Videos by American Songwriter

The tour will kick off on June 3 at the Palace Theatre in Columbus, Ohio, and cross the country with stops in Illinois, Kentucky, Missouri, Nebraska, Wisconsin, and more, before wrapping up on Aug. 2 in Clearwater, Florida. The tour will also include a performance at the Grand Ole Opry in Nashville, Tennessee on June 18.  

Browne released his 15th album Downhill from Everywhere in 2021, which received a Grammy Award nomination for Best Americana Album.

On March 3, Browne lost his longtime guitarist David Lindley, who died at 78 following a series of illnesses, including pneumonia, kidney issues, and influenza. Lindley worked with Browne on his 1973 album For Everyman through his tenth release,  Love Is Strange: En Vivo Con Tino in 2010.

“David is a very large part of me – who I became, and who I remain,” said Browne in a statement. “No one ever played like him.”

Inducted into the Rock & Roll Hall of Fame in 2004, Browne’s career spans more than 50 years with four top-10 albums, including earlier releases  Running on Empty in 1977 and  Hold Out from 1980.

Now 74, Browne also remains involved in his environmental advocacy, which dates back to the late ’70s when he protested against nuclear power plants and helped found the Musicians United for Safe Energy (MUSE) for clean energy production in 1979, along with Graham Nash, Bonnie Raitt, and John Hall.

Throughout the years, he has received numerous awards for his philanthropic work, including his most recent Gandhi Peace Award from Promoting Enduring Peace in 2018.

Browne is currently on tour in Japan and will continue with an additional run of dates in Australia on April 8 in Byron Bay before the summer tour.

Jackson Browne, Summer 2023 U.S. Tour : June 3 – Columbus, OH @ Palace Theatre June 4 – Pittsburgh, PA @ Benedum Center for the Performing Arts June 6 – Akron, OH @ Akron Civic Theatre June 7 – Toledo, OH @ Stranahan Theater June 9 – Springfield, IL @ UIS Performing Arts Center June 10 – Louisville, KY @ The Louisville Palace Theatre June 12 – Springfield, MO @ MSU – Juanita K. Hammons Hall for the Performing Arts June 13 – Omaha, NE @ Orpheum Theater June 15 – Madison, WI @ The Orpheum Theater June 16 – Evansville, IN @ Victory Theatre June 18 – Nashville, TN @ Grand Ole Opry June 19 – Nashville, IN @ Brown County Music Center July 14 – El Paso, TX @ Abraham Chavez Theatre July 15 – Midland, TX @ Wagner Noël Performing Arts Center July 18 – Austin, TX @ ACL Live at the Moody Theater July 19 – Grand Prairie, TX @ Texas Trust CU Theatre at Grand Prairie July 21 – Sugar Land, TX @ Smart Financial Centre July 22 – New Orleans, LA @ Saenger Theatre July 25 – Mobile, AL @ Saenger Theatre July 26 – Birmingham, AL @ Alabama Theatre July 28 – Jacksonville, FL @ Jacksonville Center for the Perf. Arts | Moran Theater July 29 – Orlando, FL @ Walt Disney Theater Aug. 1 – Fort Lauderdale, FL @ Au-Rene Theater at the Broward Center for the Perf. Arts Aug 2 – Clearwater, FL @ Ruth Eckerd Hall

Photo: Nels Israelson / Missing Piece Group

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Jackson Browne – The Ledge Amphitheater – Waite Park MN – June 14th 2022

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An Evening With Jackson Browne at The Ledge Amphitheater

Review and photos by: Patrick Dunn

A concert billed as “An Evening With …” will typically consist of a career spanning selection of music presented in a conversational way to include some insight into how certain songs came to be, along with random stories that can inspire fans to feel a more personal connection to their favorite hit makers. Widely accomplished singer, songwriter, multi-instrumentalist, activist Jackson Browne’s current 4-month tour absolutely delivers on this enduring concept as was appreciated by St. Cloud and Twin Cities area fans alike Tuesday night (6/14) at The Ledge Amphitheater in Waite Park, MN. It’s a real treat for this community to be able to take in a show of this caliber in our backyard thanks to the vision behind this exceptional new venue that has really ramped up its concert schedule for their second season in operation. I happened to overhear more than a few positive reactions to the facility and its surroundings as the mostly middle-aged audience settled into their seats for what would be a very full night focused on the recognizably smooth and pleasing sound that we associate with one of music’s most popular decades, the 1970s. One element that for me elevates Jackson Browne’s show into the upper ranks of “An Evening With” installments is the significant contribution offered up by the members of his 7-piece band that was expertly dialed in on guitar, bass, drums, keys and backing vocals. Props again to the venue for engineering a great mix at an appropriate volume, which spilled out beautifully into the open air as a sweltering day turned into a truly perfect evening for outdoor music.

The number one variable that fans would purposefully or even unintentionally look to as a measure of this shows overall quality has everything to do with how well Browne’s critical lead vocal component got delivered. I would call this out as major bright spot for this production as his tone was consistently in the pocket with little to no falloff across the substantial 2 sets worth of material. Also important was how clear and understandable the lyrics came across, which I came to learn was directly responsible for a great deal of the audience reaction as across a sea of content seated listeners, pockets of people would stand and cheer after nearly every song that held special meaning for them. One example that immediately comes to mind was the performance of “I’m a Patriot”, a Steven Van Zandt (Little Steven) penned tune with a bit of a Reggae feel that nicely facilitates Browne’s tendency to express his beliefs. The song closed out the first set of the show and drew a strong supportive audience reaction.

Another overarching component that helped establish this show’s feel was Browne’s ability to be in the moment and not in a hurry, essentially giving the songs freedom to develop. His songwriting formula certainly encourages this style of performance, easing in with relaxed verses while also grabbing your attention with a catchy hook that perfectly tees up a solo section, that of which can play out in the moment to whatever extent. An even better example of this could be appreciated on songs that also included an extended jam at the end, one of this night’s best being “Doctor’s Eyes”, which drew notable applause.

I was able to gain an extra level of appreciation for a couple of compositions that Browne shared some insight into his very current and relatable connection to. “Sky Blue and Black” he described as one of his favorites to perform and is a song he still finds himself singing while alone at his house. “Still Looking for Something” Browne described as kind of a life state for himself and “These Days” while being the oldest song he performed in the set, he exclaimed “still feels current.” He also did make room for some new material in the form of “Minutes to Downtown”.

A more subtle but certainly notable element came in the form of harmonies, which elevated songs such as “Rock Me on the Water”. Singers Aletha Mills and Chavonne Stewart appropriately were featured on “The Dreamer”, which contained a pretty section with lyrics sung in Spanish and had Browne providing accompaniment on a Mexican vihuela.

Browne made a point to recognize those at The Ledge as an incredible audience and expressed thanks for our enthusiasm prior to launching into the most highly anticipated song of the night “Running on Empty”, which got literally everyone out of their seats to dance and sing along  for a memorable finish. Browne did return to the stage twice for an encore section ignited by The Eagle’s hit “Take it Easy”, which he co-wrote with Glenn Frey and also included an impactful version of “The Load-Out”.

Make sure to check out the schedule of upcoming shows at The Ledge Amphitheater here and find a good reason to come check out this worthy venue.

Set 1: Somebody’s Baby The Barricades of Heaven The Long Way Around Downhill From Everywhere Fountain of Sorrow Rock Me on the Water Minutes to Downtown Still Looking for Something In the Shape of a Heart The Patriot

Set 2: You Love the Thunder The Dreamer Until Justice Is Real These Days Sky Blue and Black Doctor My Eyes Late for the Sky The Pretender Running on Empty

Encore: Take It Easy (The Eagles cover) Our Lady of the Well

Encore 2: The Load-Out Stay

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LIVE REVIEW: Jackson Browne – Kings Park, Perth Australia

Tuesday 11th april 2023.

12 April 2023 The Rockpit

After a wonderful run of shows in the U.S. and Japan celebrating 50 years of performing live Jackson Browne finally arrived in Perth to kick off the Australian leg of his Australia & New Zealand Tour with this one off ‘Day on the Green’ show in Perth’s wonderful Kings Park after warming up at Byron Bay Bluesfest last week. Few singer songwriters are as revered as Jackson Browne or as synonymous with the California music scene of the late 60’s and early 70’s. Tonight he showcased just a snatch of that memorable career as well as providing proof that some voices never seem to diminish in stature and some songs are simply timeless.

We sadly missed opening act Helen Shanahan but the Waifs who hail from Albany in the South of W.A. did a wonderful job leading into the main event with a set of wonderfully evocative favourites, and as we learned later even lent Jackson some of their gear. In a set that encompassed their own fine 31 year history they showed why their own songs are so enduring with perhaps the highlight being ‘Black Dirt Track’ which tells the tale of the salmon fishing camp the sisters Vikki and Donna grew up around. There’s the mildest of drizzle as they close their set and dark clouds loom ominously.

After what initially looked like some issues with the keyboards delaying Jackson’s start slightly, his band finally take to the Kings park stage in front of a packed house and launch into the title track from Jackson’s most recent album from 2021 ‘Downhill From Everywhere’. It’s a great way to open – laying out your latest work and even if not immediately familiar with everyone that voice is unmistakable! Jackson takes centre stage with his trademark white telecaster, tuned down a step for the song, and you are immediately taken by how tight the band is – replate with bass, drums, keys and two guitarists to complement Jackson’s own instrument.

Jackson switches to an acoustic and almost on cue the rain starts just before 1990’s ‘I’m Alive’ cuts through the dark and damp night air, it’s a track I remember hearing travelling across the U.S. when it was released, never a huge hit  at the time but one that sounds wonderful tonight despite continued sound issues that lead to the unplugging of guitarist Greg Leisz’s pedal steel which rings out an unearthly shrill tone towards the end of the song. As Jackson noodles acoustically as things are plugged, unplugged and re-plugged again he jokes about the extraterrestrial sound. Even though ‘ The Long Way Around’ lacks some texture due to the missing third guitar and you can sense the frustration in the band no one on this side of the stage seems to care and indeed Jackson’s extended acoustic fills and stage banter add an extra dimension. As the guitar tech crawls about the stage Browne tells us that his regular tech is down with covid. You have to feel for the poor guy doing the scrambling around on what might be his first night on the job!

‘The Barricades of Heaven’ is beautiful, and ‘Fountain of Sorrow’ which sees Jackson take to the piano for the first time and which has been long-rumoured to be about his short affair with   Joni Mitchell, both suffer a little from the continued problems but no one seems to mind as Jackson riffs on Western Australia not being at all like California and telling us what a wonderful unique home we have. And as the rain falls ‘Rock Me on the Water’ from the 1972 debut stirs up more than a few memories in the audience. It’s hard to believe that song has hit its 51st year this year, and just as we wee starting to think the pedal steel and slide might be absent for the evening it finally bursts to life towards the end of the song.

‘Until Justice Is Real’ another from his latest record shows that Browne the activist is very much alive with a sharp focus on racial justice and well and works wonderfully well up against ‘The Dreamer’ from the same album that echoes the activism that has always been in his canon and looks at the plight of immigrants. With the sound problem identified as the volume pedal there’s a little more on stage banter as the next set of leads are wired in with Jackson offering Greg the option of plugging into his amps and taking the audience for attending ‘the soundcheck’!

‘Your Bright Baby Blues’ from 1976’s ‘The Pretender’ sadly for me means we don’t get the wonderful ‘Lady Paloma’ from that same album but it’s still a classic. But the biggest reaction from the damp crowd of the night so far comes with ‘Doctor My Eyes’ when Jackson returns to the piano and opens the song. What can you say about the song that hasn’t been said before and it’s almost as if the technical issues, that I must say have been mitigated wonderfully, are swept aside just in time for this song.

‘Late for the Sky’ the opening track from his third record of the same name is up next and is as wonderfully emotional and beautifully orchestrated as you could have hoped for. The set closes as perfectly as possible with ‘Running on Empty’ which sees singing and dancing raised to a new level in the crowd. It’s the perfect way to end the evening and with the band introduced and the Waifs thanked Jackson and the band leave the stage.

It’s not long before they are back and Jackson remarks that he hadn’t realised that it was raining until they went off. The band launches into the song that Brown wrote with Glen Frey for The Eagles ‘Take It Easy’ always one of my favourite songs as a kid especially for one line that always resonated “ We may lose and we may win, Though we will never be here again” it’s a line so simple yet so true. The extended song features what has been a wonderful part of the night – the guitar and with the crowd singing at the top of their voices we seamlessly move into ‘Our Lady of the Well’ from ‘For Everyman’ his pivotal second album (that also featured ‘Take it Easy’ The Eagles first single the previous year).  Put together those two songs work perfectly and the delicate piano added by Crosby after the lilting guitars of Leisz. The songs closes with wonderful spotlights on each of the players. It’s perfect and the applause is thunderous as the band leave the stage a second time.

“This is a love song to my crew” is Browne’s introduction to ‘The Load-Out’ the prefect closer for the evening and not often one he ends the set with. It’s sheer joy, but rather than end in a subdues manner the band segue into the classic Maurice Williams and the Zodiac’s number ‘Stay’ to end the evening with the crowd on their feet and dancing. It’s a blissful night in the rain.

There are so many songs I would have loved to have heard tonight – from ‘These Days’ to ‘ Jamaica, Say You Will’ or ‘Everyman’ but that’s the joy of an artist like Jackson Browne – such a career and so many memorable songs. Despite the technical issues, despite the rain, it’s a perfect night in Perth under these cloudy skies. 50 years and a million miles in the rear-view mirror  Jackson Browne is far from running on empty.

Jackson Browne Setlist:

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Jackson Browne 2021

Jackson Browne

Premiere Theater, Foxwoods Casino

August 8, 2021

It was an absolutely wonderful sight to see Jackson Browne once again take the stage. He walked on sporting the KN95 mask that his band offered to all attendees at the door, encouraging them to trade off with the ones they had on or weren’t wearing at all for the more protective measures. As we all know in this era of Covid-19 just being able to attend a concert of any size is special in itself. It brings back a feeling of normalcy the world is longing for, especially those who love live music. Always a socially and environmentally conscious individual one would expect no less from Browne than to offer protection to his guests for the evening. He removed his mask after taking the stage and let the night of great music begin.

Browne played his tried and true hits and introduced some of the new music off his “Downhill From Everywhere” album just released July 23, 2021 and debuted at #5 on the Billboard Current Album Chart right after its release.

The set began with “I’m Alive”. Like much of the album Browne seems reflective at the age of 72 to what we will leave behind physically, environmentally and emotionally to the children and grandchildren of the generation that was so hopeful for change in the 60’s and early 70’s. This theme was also evident in the song “Until Justice Is Real” with beautiful accompaniment singing by Chavonne Stewart and Alethea Mills about social justice now and where it needs to be.

“Downhill From Everywhere,” the title track, describes how far we need to go as humans to protect this earth and how we are impacting it every day. How everything flows downhill from everywhere to the sea. A sea we all need to survive and breath which gives life in so many ways to the world.

There were many upbeat songs to balance out the reflective messages making a good mix so that everyone came away feeling good about all the music Browne was playing and the feelings conveyed to the crowd.

Joined by his band :

Jeff Young – Keyboards Bob Glaub – Bass Guitar Jason Crosby – Piano, Violin Mauricio “Fritz” Lewak – Drummer Val McCallum – Guitar Greg Leisz – Slide Guitar Chavonne Stewart – Vocals Alethea Mills – Vocal

Besides being Inducted into the Rock and Roll Hall of Fame in 2004 and the Songwriter’s Hall of Fame in 2007. Browne is one of those writers and musicians world known for his environmental and social values. His songs through the years reflect how world affairs have influenced his writing and performing.

In a nutshell it was a great evening to see Browne showcase that he is still relevant and putting out music that fans want to hear both live and on albums. As always he backs himself with a wonderful cast of musicians and vocalists to make the entire evening a delight.

By the time the encore rolled around the audience were on their feet dancing and enjoying the last of a fantastic night of music performed by one of the greats. Jackson Browne gives a show well worth attending and has not lost his edge.

https://www.jacksonbrowne.com/

Review by Donna Erichsen Photos by George Bekris

I’m Alive Long Way Around Fountain of Sorrow Downhill From Everywhere Cleveland Heart Until Justice is Real For a Dancer Somebody’s Baby Minutes From Downtown Doctor My Eyes Late for The Sky Pretender Running on Empty

Encore: Take It Easy Patriot

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Sheldon Ang Media

Live Review: Jackson Browne

Jackson Browne, Kings Park and Botanic Gardens, Perth 11 April 2023

Review by Erica Lorimer of Lorimer Images with contributions from Angela Frodsham

Photography by Sheldon Ang Photography of Sheldon Ang Media

Voices in the air

Sympathetic harmony

Coming from the trees – Jackson Browne, Rock and Roll Hall of Fame, One of Greatest Song Writers of All Time (Rolling Stone).

Towering gum trees above the Kings Park and Botanic Gardens stage in Perth is a picturesque and serene setting for the highly anticipated Jackson Browne concert. Joining other devoted fans in the natural bush setting, I feel the excitement in the air.  Despite the drizzle on this cool autumn night, the audience eagerly awaits to be enraptured by the poetic and soulful melodies of a musical icon, whose love for natural environments like this one is reflected in his music.  We are heading for an unforgettable night of music and I can’t wait to be a part of the opening night of the Australian and New Zealand Tour.

As the crowd find their spot for the night or grab a drink and dinner, the vocals of Perth based singer-songwriter Helen Shanahan sparks the night with Deer in Headlights, Subtlety in the Silence and Smoke, hypnotising the crowd with the potent and soulful blend of modern folk and pop infused with an acoustic flair. Shanahan also showcased her title track and critically acclaimed Canvas, oozing the vocal dexterity by translating an introspective, reflective lyrics into a mellifluous flow of vulnerability and instrumental ebbs. The sincerity and visceral propagation of her live vocals across eight tracks are immeasurably palpable with a fusion of poignancy and consolation, drawing the joys, heartbreaks and sorrows of love and life from her sophomore album Canvas (2022), and her earlier works in Every Little Sting (2017) and Driftwood (2015).

The WAAPA graduate – majoring in (unsurprisingly) Voice, ends her mesmerising performance with the 2015 track Finding Gold, co written by Nashville songwriter Kim Richey, “which felt fitting”, as Shanahan tells SAM . We couldn’t resist, so we caught up with Helen after her performance for a quick chat ( at the end of the article ).

A Welcome to Country ceremony is performed by Kerry-Ann Winmar on the land of great significance to its traditional custodians, the Whadjuk Ngoogar people for at least forty thousand years. The sun starts to set and local folk-rock legends, The Waifs , take the stage and owned it. Their pride in Western Australia is not a convenient statement, it’s a fundamental part of who they are.  It’s very clear that, despite their massive success both nationally and internationally, they remain true to their roots. Donna Simpson, lead singer with a personality that shines on stage, tells us she is from “Hammy Hill”. Throughout the show she shares little snippets of the band’s story, including teaming up with bandmate Josh Cunningham in Broome and a chance encounter with Jackson Browne who tuned her guitar before another show.

I knew the audience would recognise that The Waifs’ song writing shares similarities with Jackson Browne’s. Their lyrics carry a vivid imagery and delve into themes such as love, loss, nature and adventure – and a concern for the environment and the planet’s well-being.  While listening to The Waifs and reflecting on their ties to Jackson and Perth, I realised why I used to play their music with my kids, especially when living overseas and feeling homesick.  Having a familiar sound that brings back memories of home is truly comforting, and this is the meaning of their song “London Still”.

The Waifs’ performance of “London Still” and “Bridal Train” stands out with their distinct Western Australian references in the lyrics. Meanwhile, “Highway One” is a celebration of the Australian landscape and the exhilarating sense of freedom that accompanies traversing the open road. Dressed in a striking vermillion pants suit, Vikki Thorn’s dynamic performance on stage passionately playing the harmonica demands attention.  Josh Cunningham, the multi-talented musician and songwriter, always commands a stage with his unassuming and understated demeanour, yet his performance never fails to impress.  Other band members include well-known Canadian born David Ross Macdonald and bassist Ben Franz from Kalamunda.  Throughout the years, I’ve had the chance to catch The Waifs performing in Fremantle, and their ability to captivate the audience and form a connection with them has only grown stronger, if that was even possible.  Their joy to be together on stage is obvious to all.  These guys continue to be the real deal!

As Californian Jackson Browne takes the stage, he greets the Perth crowd with a simple: “It’s great to see you.” The legendary singer-songwriter, often considered the classic “everyman” artist, exudes confidence and charm in his performance.  His strong, smooth, and pitch-perfect voice still vibrant despite his 74 years, is a testament to his enduring talent as a singer and poet.

The iconic singer-songwriter appreciates the welcome from his faithful fans and kicks off the show with “Downhill From Everywhere” from his latest album of the same name.  The song addresses the relationship between humans and the environment, the ocean, and raises concerns about the damage caused by plastics. This is followed by the powerful post breakup song “I’m Alive,” from his 1993 album.  The song portrays a journey through adversity “With its beauty and its cruelty, with its heartbreak and its joy”, ultimately leading to a sense of gratefulness to have come through the other side and appreciate life even more.

Although technical difficulties arise soon after taking stage with a “volume pedal situation” causing some delay, an unfazed and relaxed Jackson Browne takes the opportunity to engage with the audience, strumming his guitar patiently and making witty remarks about a previous performance at Kings Park and the “inter-species communication between ducks and humans” in the pond.  Jackson Browne clearly loves being in “unique” Perth, and having been told earlier it was the world’s most isolated city only seemed to add to its appeal, particularly in the wake of COVID.  His last visit here was to headline the 2018 Leeuwin Estate Concert, so he has also seen what regional Western Australia has to offer.

Despite the volume pedal situation persisting, Jackson Browne remains optimistic and jokes that the delay was an unexpected “bonus soundcheck”. He points out the value of analogue simplicity: “Cool thing is you can take away all these peddles and flashing lights and effects and shit and just plug straight into an amp and it’s awesome!”.  The seasoned crowd, who are notably not distracted by their mobile phones during the night, show their appreciation.  Despite a rocky start with the technical difficulties, the early interruptions became an enjoyable addition to the show.

Many in the audience are eagerly anticipating the beloved classic “Fountain of Sorrow” from the revered 1974 album “Late for the Sky”, which does not disappoint.  The introspective lyrics of regret and sadness from a lost relationship are quintessential Jackson but, as often is the case with his music, a note of hope emerges to a triumphant crescendo with the powerful final line: “But you go on smiling so clear and so bright”.

Light rain falls throughout the evening but doesn’t dampen anyone’s enthusiasm. Next up is “Rock Me on the Water”, a song Jackson wrote at the young age of 24 and one of the songs he has been performing more often these days.  He reminds us that this song was from his debut album released fifty years ago and there is an audible gasp. Next, he introduced us to another song from his latest album called “Until Justice is Real”.  The song underlines social justice and the fight for equality.  Jackson was an activist well before it was fashionable, and his current efforts to promote social causes are consistent with his longstanding commitment to authenticity.

We come from different countries, we all come from somewhere .

When he follows up his new work with the crowd-pleaser “Doctor My Eyes”, it’s enough to get people up and grooving on the side of the stage.  This is a tradition I’ve noticed at all his concerts in Perth since my first at the Entertainment Centre nearly forty years ago.  When I attended that first concert at 19 years old, I wore a shirt I had personally hand-painted with the album cover of “Saturate Before Using”.  Regrettably, the new shirts available at the merch stores out back don’t come in my size!

I find it difficult to not get emotional when I hear Jackson himself sing the evocative lyrics of “Late for the Sky” on a local stage. I feel engulfed in a sea of other fervent supporters, swept away by the song’s enchantment.  The iconic classic car image on the vinyl record always cover comes to mind when the song is played.  Moving on, Jackson faithfuls know the encores are a big part of the gig and he will deliver not one, but two, if not three, encores.  This started with a rousing version of the “Take it Easy” with a mandatory sing along of the famous chorus line “Take it easy, take it easy, don’t let the sound of your own wheels drive you crazy”.  Is there a more iconic phrase in popular culture?

Even if you are not a “Jacksonut” and are new to the world of Jackson’s music, you’ll recognize the iconic tune of “Stay”, which Jackson explains is his “love song to his crew”.  Throughout the night, Jackson’s band proves to be nearly as accomplished as the man himself, with each member given the freedom to showcase their own musical talents.  Among them is Jackson’s long-time friend and American bassist, Bob Glaub, who has been a key part of Jackson’s touring band for many years, having played on numerous albums.  The partnership between Greg Leisz and Jackson Browne has been one of the most solid in contemporary music.  His mastery of the slide guitar adds a soulful depth to the music, and it is little wonder he is considered to be one of the best of his generation.  Backup singers Alethea Mills and Chavonne Stewart have a big task ahead of them, stepping into the shoes of Rosemary Butler and Valerie Carter, however they rise to the occasion and deliver a performance that complements Jackson’s music beautifully.  David Linley, Jackson’s iconic slide guitarist collaborator of the 1970s and 80s, passed away last month and was on my mind and many others in attendance.  Jackson never overlooks the contribution of support acts either.  A Jackson Browne performance is never solely centred on Jackson himself, and he made it clear that he was pleased to share the stage with The Waifs and Helen Shanahan.

The loyalty of his dancing fans on the hill in Kings Park is a testament to the global reach and enduring legacy of his music. I certainly feel the deep connection that many in the audience have to Jackson Browne and his unique artistic vision.  Surrounded by other Jacksonuts, singing his lyrics by heart, I am transported back to my younger days when his songs helped me make sense of the world and bring back memories of countless Sunday sessions in Perth where local bands would cover his work.

Jackson can’t play all his extensive song catalogue and he wouldn’t even attempt to, including SAM’s favourite – Somebody’s Baby (!). He has had a legendary career as a prolific songwriter spanning decades, producing a plethora of classic albums and hit songs.  For this he has received numerous awards and accolades, including inductions into the Rock and Roll Hall of Fame and the Songwriters Hall of Fame, multiple Grammy nominations and wins, and the Americana Music Association’s Lifetime Achievement Award for Songwriting.  His discography is extensive, with 14 studio albums, numerous live recordings, and singles, accumulating to over 150 songs.  Attending one of Jackson Browne’s concerts is not solely about enjoying his hit songs or admiring his humble and intelligent personality. It’s also about the thrill of anticipating which songs he will choose to perform, as his repertoire is extensive and varied.  After his concerts, you leave with a sense of elation and a feeling of being both satisfied and yet wanting more, much like the themes of life in his music. It’s a journey, afterall.

After half a century of giving us his soulful voice, skilful musicianship, and meaningful lyrics, it’s clear that Jackson Browne has a tight bond with his loyal fans who’ve grown up listening to his music.  Whether you’re a lifelong fan or a newcomer, his live performances are not to be missed – a testament to his enduring talent and legacy in the world of music.  It sure is something fine and doesn’t come around often.

Afternote with Helen Shanahan: SAM caught up with Helen Shanahan after her performance and asked these two hard hitting questions!

How was it like to perform in front seven thousand music lovers at a Jackson Browne concert?

It was an absolute privilege for the band and I to perform on the same stage as artists we admire so much. Both The Waifs and Jackson Browne paved the way for singer songwriters like me to do what we do, so it was a huge honour. As much as I felt nervous, I was trying to take in every minute and enjoy the moment! 

It must have been so satisfying – relieve even, to showcase your latest album Canvas – which you worked so hard for, in front of an arena sized crowd?

I felt extremely lucky to be able to present my sophomore album Canvas to such a respectful and sizeable crowd. When I released the album in 2022, my launch was at 50% capacity and I was restricted from touring due to covid. So it felt amazing to get the songs out there, and hopefully they resonated with the crowd.

To connect with Helen Shanahan , visit her website for albums, singles, merchandise, upcoming tours and social media links.

Jackson Browne Setlist

Downhill from Everywhere

I’m Alive

The Long Way Around

The Barricades of Heaven

Fountain of Sorrow

Rock Me on the Water

Until Justice Is Real

The Dreamer

Your Bright Baby Blues

Doctor My Eyes

Late for the Sky

Running on Empty

Take It Easy

Our Lady of the Well

The Load Out

Thank you Mellen Events , A Day On The Green and Rosita Stangl Publicity for the accreditation. Visit their websites for upcoming events that include Robbie Willliams. Jackson Browne is touring across Australia and New Zealand. Click here for more information

About the Writer :  Erica Lorimer  holds a Bachelor of Arts (Hons) Degree from the University of Western Australia (UWA), majoring in English Literature and Economics, and a Certificate IV in Design. She is also a  freelance photographer who loves capturing images of live music and travel photograph, sometimes with film from vintage cameras and making prints in a home darkroom.  She has lived in Japan, the UK and Nigeria and is also a Marathon runner.

Contributed by Angela Frodsham – a music lover who has enjoyed live concerts with sister Erica and friends since the early 1980’s. A career in Government economic development and transport policy followed a Bachelor of Economics majoring in the Japanese language.  More recently, Angela’s love of writing and history has led her back to UWA to study Classics and Ancient History, including the Latin language.

About the Photographer :  Sheldon Ang Media  (est. May 2022) have been accredited to photograph and review most of the arena and stadium concerts in Perth including Rod Stewart, Cyndi Lauper, Red Hot Chili Peppers, Post Malone, Sting, Harry Styles, Backstreet Boy, and KISS with reviews shared by the likes of UB40, Delta Goodrem, The Fabulous Caprittos and Synthony on social media. He has interviewed rockers Ace Frehley (KISS), John Steel (The Animals), Frank Ferrer (Guns N Roses), Phil X (Bon Jovi), Andrew Farris (INXS), Floor Jansen (Nightwish), Ian Moss (Cold Chisel) and forty other legends.

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