Chris Robinson Brotherhood Take Their Time at the Space at WestburyNovember 21st, 2016
Chris Robinson Brotherhood – the Space at Westbury – November 18, 2016
I’ve seen the Chris Robinson Brotherhood do their pie-eyed, soulful thing plenty now, and the word I keep going back to is unhurried, which doesn’t mean slow, for this band can cook up a good old rock and roll, blues or country racket when called for. But that does mean you go at their pace: a deliberate, expansive set or two of deeply fleshed out and not-a-little-cosmic Americana that insists you groove in its orbit or that you politely leave the rocket ship. It may not be for everybody, but in every year since the band’s 2011 inception, yielding to what the CRB does has been rewarding for the willing listener.
Robinson and his band of aces—guitarist Neal Casal, keyboardist Adam MacDougall, bassist Jeff Hill and drummer Tony Leone—throw back to a time when rock, blues, country and folk were painted with Day-Glo and didn’t mind a layer of stardust. Their music feels nostalgic but embraceable and honest. Those wistful moments that might sound sad or might sound accepting depend on how a guitar string is plucked, meshed with those more celebratory, up-tempo, let’s-kick-it type of songs. They can be short statements or long statements or really long statements, protracted with jam segments that can veer toward an ambient soundscape or burn with the gnarly guitars of a Tuesday night at the roadhouse.
They’re encyclopedic too, and that reach goes wide and deep. This two-setter at the Space at Westbury on Friday featured songs by Hoyt Axton (“Never Been to Spain”), Jackie Moore (“Precious Precious”), Bob Dylan (“It’s All Over Now Baby Blue”) and New Riders of the Purple Sage (“Last Lonely Eagle”) tucked between CRB originals and songs from Robinson’s previous associations given new life by this band (“I Ain’t Hiding,” came from the Black Crowes while “Tumbleweed in Eden” and “Train Robbers” drew from the brief, turbulent life of Robinson’s 2002-2004 era band, New Earth Mud). None of those felt out of place, but rather they were bent to the groovy CRB m.o. such that a well-trodden tune like “Baby Blue” had a livelier, hootenanny feel than the regretful folk sound it’s most often associated with. Robinson was as ever the band’s centerpiece. He’s still the charismatic hippie-with-an-edge howler he always was leading the Crowes, and with Leone and Hill keeping things humming—and from veering off course—Casal and MacDougall become its painters, working with a significant range of tones and colors both earthy (Casal’s paint-peeler slide guitar) and spacey (MacDougall’s spattering psych-out effects).
Together, the fivesome offered a few hours of vignettes: the mournful then defiant narrator of “Train Robbers,” which began as spooky country before erupting into vocal howls and volcanic guitar, the vicious rock and roll of “I Ain’t Hiding” (“Ain’t your saint, ain’t your enemy/ I’m a long shadow on the highway”), the big dreams and tortured realities of “Forever as the Moon” and “Star or Stone,” plus the drunk-on-life rambling in “Rosalee,” which began and ended the second set as effectively one long sandwich. And if there’s a newer song from the band’s rapidly growing catalog that takes its place among its best and most complete statements, it’s “Narcissus Soaking Wet,” which on this tour has been a second-set showpiece, getting really cosmic and Dead-y, a lengthy tale of myth. It’s a song to get lost in from a band really good at making them. —Chad Berndtson | @Cberndtson
Tags: Adam MacDougall, Black Crowes, Bob Dylan, Chad Berndtson, Chris Robinson, Chris Robinson Brotherhood, Grateful Dead, Hoyt Axton, Jackie Moore, Jeff Hill, Live Music, Music, Neal Casal, New Earth Mud, New Riders of the Purple Sage, Review, Space at Westbury, Tony Leone
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