Any worries that Joe Cocker’s live show might be, like his recent albums, a bit ballad-heavy, were incredibly unfounded. Thursday night’s 90-minute barnburner was every bit as rocking and vibrant as his classic “Mad Dogs and Englishmen” live album from 39 years ago – except his current band is probably better.
Cocker delivered every notable song from “Mad Dogs” and a stunning cross-section of his career since then. At 65, he may be a few pounds heavier, and gulping water between songs instead of something stronger, but he’s every bit as mesmerizing a rocker as he ever was.
Cocker, dressed in a black suit and black shirt, made a fantastic entrance. As his eight-piece band unveiled the familiar funky lines to “Hitchcock Railway,” he strode down the aisle of the big tent, packed with one of its few sellout crowds this season. After a rollicking romp through that tune, Cocker shed his suit coat and careened through a vintage-quality “Feelin’ Alright.” There’s no other way to say it, but the audience of 2,300 went wild, and the gruff-voiced man from Sheffield had them right in his pocket the rest of the way. A good estimate would be half-a-dozen spontaneous standing ovations as the night wore on, as Cocker kept pushing the envelope on a truly bravura performance.
Cocker’s band deserves special note, as they really played the music with muscle and verve. Bassist Oneida James was a revelation with her visceral foundations all night long, and drummer Jack Bruno was equally potent. Guitarist Gene Black could be subtle or fiery as the occasion demanded, and pianist Nick Milo and saxophonist/percussionist Norbert Fimple displayed wonderful versatility. Hammond B-3 organist Mike Finnigan really hit the pocket, reprising some of those classic lines made famous by original Cocker band member Chris Stainton. And backup singers Nicki Tillman and Tyonee Reed were practically flawless in harmonizing with Cocker. James, Black, and Finnigan also provided harmony vocals, so Cocker had a real choir behind him.
After those first two bombshells from the past, Cocker unleashed a sizzling take on “The Letter.” It seemed like Cocker was trying to exhaust his fans early, and the next song only downshifted a little. “When the Night Comes,” a latter-day Cocker gem, rode a more mid-tempo groove, but the singer still managed to accentuate it with a joyful jump in the air at its finish.
That was the opening sprint, and then Cocker brought the sound way down for a quiet rendition of “Up Where We Belong,” the ballad from “An Officer and a Gentleman,” with Tillman deftly filling the role Jennifer Warnes did on the hit. A throbbing charge through “Shelter Me” got temperatures rising again, but then Cocker sang “You Are So Beautiful” with just Milo’s piano providing lovely accompaniment.
James’ funky bass was the crucible that turned the Beatles’ “Come Together” into something hot and steamy, and brand-new, and last night’s version was even better than the one on Cocker’s latest album, “Hymn for My Soul.” But then Cocker immediately topped that with “Now That the Magic Has Gone,” one of the best soul torch songs of the past couple decades. The song’s sweeping dynamics fit Cocker’s vocal power like a glove, and Black’s stiletto guitar solo was mind-bending.
During “You Can Leave Your Hat On” one besotted female fan strode onstage to embrace Cocker, who smiled at her, and never missed a beat as he continued to sing with her clinging on until security arrived.
Cocker’s homestretch would be daunting for a singer in their 20s, but he pulled it off with style and inhuman energy. “Unchain My Heart” was just a roaring march through the blues, while “With a Little Help from My Friends” simply drove the all-ages crowd bonkers.
“Delta Lady,” “She Came in Through the Bathroom Window,” and a pounding, B-3-focused “Cry Me a River” were all slammed out like it was 1969.
For his finale, Cocker did a scaled down, gospel-feeling take on John Fogerty’s “Long as I Can See The Light,” from the latest album.
Welsh singer/songwriter Paul Freeman opened with an appealing 30-minute set. Freeman’s own “Walking on a Tightrope” was lively rock, while his cover of the Traveling Wilbury’s “Handle with Care” had the whole tent clapping along gleefully.