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by: Dave Hoekstra
The world is rapidly changing: earthquakes, layoffs and the cresting cost of war. And there was Willie Nelson Friday night on center stage of the grand Chicago Theatre in downtown Chicago, a steady beacon of truth in rough waters.
At age 77 there aren’t many places Nelson has not played around Chicago, but this was his Chicago Theatre debut.The evening was illuminated by a gentle and special spirit and that light fell on Nelson and an organic version of his ‘Family’ band. Nelson delivered extended, fluid solos on his beloved Trigger guitar with a huge hole near the sound hole (fans took photos of the 42-year-old guitar on stage before Nelson walked on), drummers Paul and Billy English (brothers) traded off on songs, playing with brushes on a tiny kit; sister Bobbie Nelson performed in the shadows on nightclubby piano, Mickey Raphael framed a full moon with his empathetic harmonica that was counterpointed by the Mexican-tinged bass lines of Bee Spears.
The band coalesced in the second half of the no-intermission set, when Nelson departed from his well-worn set list of standards. His melodic Django Reinhardt inspired intro to “I Never Cared For You” from 1998’s superb “Teatro” album was beautiful and the gospel-blues of Blind Willie Johnson’s “Nobody’s Fault But Mine” was spellbinding. Nelson kicked in for fierce, rhythmic chops on “Bloody Mary Morning” and seemed pleased to lead the audience on a sing-along to the chorus of “Always On My Mind.”
Dressed in black jeans and a black T-shirt, Nelson playfully threw red bandanas off his head and into the audience and devoted a portion of his set to friends. He covered Kris Kristofferson’s “Help Me Make It Through The Night” and put a chuggling train rhythym behind “Me and Bobby McGee” (I was waiting for Stevie Goodman’s “City of New Orleans,” a hit for Nelson.) Nelson acknowledged the late Waylon Jennings with “Good Hearted Woman,” which became a rowdy crowd pleaser. And yes there were the segments that those of us who have seen Nelson a dozen times have seen every time: the set opener of “Whiskey River” and the medlely of “Crazy,” “Night Life,” etc. But Nelson’s songs are so timeless tath you can hear something beautiful every time. That is how you stay the course in the dark journey of change.