Photo of Eric Clapton by George Chin; used with permission
It’s not a tour. He hasn’t done one since 2014. But for Eric Clapton fans—and who isn’t, really?—even a handful of dates, in just three markets, is a cause for celebration.
The first of two performances at New York’s Madison Square Garden on March 19, 2017, was thus an increasingly rare treat.
Clapton had told Rolling Stone in 2013, “When I’m 70, I’ll stop. I won’t stop playing or doing one-offs, but I’ll stop touring, I think.”
He hits 72 on March 30 and he’s been true to his word. So far in 2017, he had the two Garden dates, two in Los Angeles this weekend (since postponed due to illness and moved to September), three in May at his home away from home—London’s Royal Albert Hall—followed by two each back at MSG and in L.A. in September. In 2016, he did just five shows, all at Tokyo’s Budokan. In 2015, he did a series of 70th birthday concerts in New York and London.
For this show, billed as “A Celebration of 50 Years of Music,” guitarists Gary Clark Jr. and Jimmie Vaughan were “special guests.” Each offered excellent 30-minute sets; Clapton can thus be forgiven for playing “only” 15 songs, lasting around 75 minutes.
Clapton led his terrific four-piece band and two backup singers on stage and with a simple “Good evening,” immediately launched into “Key to the Highway.”
His first of three songs from his Cream repertoire, “Badge,” offered an extended version of that long-ago hit.
On his familiar cover of Bob Marley’s “I Shot the Sheriff,” his voice sounded particularly fine, and one envisions that without the strain of a full tour, it will remain so. Illuminated in red, he offered a solid, extended guitar solo.
Related: 10 great Clapton collaborations
Clapton and his band at MSG, March 17, 2017 (Photo: Greg Brodsky)
Clapton then took a seat for an acoustic set of four songs that mostly featured him on guitar and a bit of drums from his frequent band member Steve Gadd. He’s not known for roaming the stage but on this night a right knee brace was going to limit his movements regardless.
For the acoustic “Layla,” his longtime keyboardists Chris Stainton and Walt Richmond offered great solos, followed by Clapton’s own beautiful playing. Throughout the performance, backup singers Sharon White and Michelle John offered just the right amount of soul to buttress Clapton’s vocals.
With the audience unaware that his set was coming to an end, the band sprang to life with covers of Robert Johnson’s “Cross Road Blues” (just “Crossroads” when Cream first cut it) and “Little Queen of Spades.” “Gonna get me a gamblin’ woman if it’s the last thing I do,” Clapton sang, leading to another solo from Stainton, followed by a highlight-reel Clapton solo. The song received the loudest ovation of the evening.
“Cocaine” followed. The band waved to the crowd and left the stage, returning moments later for two more chestnuts: “Sunshine of Your Love” and the finale, the Bo Diddley cover, “Before You Accuse Me,” with Clark and Vaughan joining the band.
Clapton’s 2016 studio album, I Still Do, was only represented by a J.J. Cale cover. Also ignored was any acknowledgment of Chuck Berry, who had died the day before. As two of the leading guitarists on anyone’s short list of classic rock giants, it was surprising that Clapton didn’t reference the man many refer to as the “father” of rock ‘n’ roll. Clark did, however, noting at one point during his own set, “That last song wouldn’t have been possible without the influence of Chuck Berry.” He received a well-deserved ovation after his solo on “When My Train Pulls In.”
Clapton performances will likely continue to be rare occurrences. They are to be savored.
Tickets for Clapton concerts are available here.
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4 Comments so far
Jump into a conversationFor a guy who owns a catalogue of some of Rock’s greatest songs, Clapton pretty much has mailed it in in his shows for many years now, doing essentially the same material, with a few changes here and there. The worst part of it is that he seemingly has no interest in hitting classic solos, or even the cues to those solos, and instead just noodles around for a few bars, as he’s pretty much done since Layla. While it’s great that he still performs, it’s a tragedy that he appears to take so little joy from it, and makes such little effort to live up to his legacy as a guitar player, and the legacy of classic recordings.
I agree that the set list grew stale. There hasn’t been the fire since around 2012. Part of the reason that isn’t apparent is the advancing neuropathy that is extremely painful. That started years ago and had no direct effect to his recent bad reaction to the “jab.” Today he is 77 and will turn 78 on March 30th. He’s said that he wants to keep at it to “have something ahead” that he set goals for. How much he will take on is unclear, but it is certain that his hardworking years of constant worldwide touring are now in the history books.
Give the MAN a break. He is still relevant. He played wonderfully.
Please!!!! Even at half-speed his masterful technique, tone and emotion leaves all comers in the dust. I agree, since Layla or 461 he’s lost the fire but along with Peter Green, he’s still the greatest blues-rock guitarist I’ve ever heard.