David Crosby And Friends

Shep­herd’s Bush Em­pire

Classic Rock - - Live! - Han­nah May Kil­roy

Hits and weird shit from eter­nally rel­e­vant counter-cul­tural icon.

With his han­dle­bar mous­tache and po­lit­i­cal ac­tivism in­tact, at 77 David Crosby re­mains an icon of 1960s coun­ter­cul­ture, whose mu­sic with The Byrds and CSNY helped de­fine that gen­er­a­tion.

Crosby isn’t the chat­ti­est per­son when he and his five-piece band ap­pear on stage to thun­der­ous ap­plause, but af­ter a few songs he opens up, de­liv­er­ing an im­pas­sioned speech in which he apol­o­gises for Amer­ica and slams cap­i­tal­ism be­fore play­ing the stripped-back, pow­er­ful What Are Their Names, which segues beau­ti­fully into CSN favourite Long Time Gone.

He in­tro­duces each band mem­ber – in­clud­ing his son James Ray­mond on key­boards – with warm anec­dotes about how they met, and the chem­istry be­tween them all is elec­tric. Key­board player Michelle Wil­lis also plays her own song Janet, which makes jaws drop.

The band give the clas­sics new di­men­sions: with so­los, har­monies and im­pro­vised jams, soft CSN songs like Déjà Vu and the psych pop of The Byrd’s Eight Miles High bloom into jazz­ier, rock­ier beasts, but re­tain their im­pact and nos­tal­gia.

Some­how, Crosby’s vo­cals still rum­ble richly. He doesn’t let rip dur­ing every song, but when he does, par­tic­u­larly on the en­core of his coun­ter­cul­ture an­them Al­most Cut My Hair and Neil Young’s protest song Ohio, two songs that em­body what Crosby rep­re­sents, it’s spell­bind­ing.

Newspapers in English

Newspapers from UK

© PressReader. All rights reserved.