This will go down as a landmark week in Twin Cities concerts because of bookend shows by two great American musical treasures — Tony Bennett and Willie Nelson.
On Sunday at the Orpheum with the 92-year-old Bennett and on Friday with the 86-year-old Nelson at Target Center, it was obvious that these institutions are past their prime (though still making compelling albums). But what they lack in stamina and vocal nuance, they make up for with skillful musicianship, classic songs and incalculable gravitas. Their personalities won't be denied.
Both singers favor a vocal approach that is more conversational than musical. Nelson certainly had command of his vocal dynamics and behind-the-beat phrasing, but his voice had more character than color.
He seemed invested in his words, especially on two ballads from his new album (his seventh in last four years) — Guy Clark's melancholy "My Favorite Picture" and the wistful "Maybe I Should Have Been Listening." And his yearning version of "You Were Always on My Mind" was as pretty as ol' Willie gets these days, bolstered by his sweet Tex-Mex guitar passage ending.
His battered Martin acoustic guitar was front and center all night. Like B.B. King used to do in concert, Willie would sing a line, then play a guitar line, and, of course, take solos, sometimes jazzy or bluesy or twangy or rockin' or flamenco-y. Nothing was more impressive and expressive than his graceful gypsy jazzy instrumental treatment of Django Reinhardt's "Nuages."
That number also was one of many highlights for pianist Bobbie Nelson, whom Willie always introduces as Little Sister even though she's two years older. She had plenty of chances to shine on Friday, with her boogieing on "Move It On Over," honky tonking on "Hey Good Lookin,' " bluesy funking on "Shoeshine Man" and country rolling on "Down Yonder," her usual solo showcase.
And, of course, there were plenty of funky and bluesy harmonica fills from Mickey Raphael. But this evening was all about Willie, who accommodated the faithful with many of his hits, tributes to Waylon Jennings and Merle Haggard, a couple of pot-themed songs and a serving of set-closing gospel with a medley of "Will the Circle Be Unbroken" and "I'll Fly Away," featuring Patrick Simmons of the Doobie Brothers on backup vocals.
To the delight of the 9,000 fans, the no-frills, no-live video, no-encore Texas legend delivered some Willie-isms, including pointing his right index finger into the air for dramatic effect, cupping his right ear whenever he wanted everyone to sing along (which was often) and tossing his autographed straw cowboy hat and later red bandanna to the crowd.
That the man with graying red braids and black "North Shore" Maui T-shirt was onstage for a mere 60 minutes — delivering 21 tunes — didn't seem to tarnish that bucket-list of an evening with Willie.
Opening act Alison Krauss and Union Station actually played longer than the main attraction. For 65 minutes, Krauss kept the crowd spellbound with her angelic, emotional but never overwrought voice. No one does sad songs like Krauss, whether they're bluegrass, gospel, pop, blues, country or Americana.
Among the many highlights were the haunting "Ghost in This House," the spiritual "Down to the River to Pray," the Willie salute "Angel Flying Too Close to the Ground," the glorious gospel plea "I Want My Crown" and her Robert Plant collaboration "Sister Rosetta Goes Before Us."
A musical week to remember, indeed.
