Going Solo: Jackson Browne’s Naked Ride

By John Voket

Creatively, Jackson Browne has always been the kind of performer who has been at war with himself. While he was recognized by the music industry with a Rock & Roll Hall of Fame nod for his deliciously flavored material on record, the unassuming SoCal musician is also recognized by his peers for the core element of his work, having been inducted into the Songwriters Hall of Fame in 2007.

Fans can track his career from the self-titled debut in 1972 to his last studio effort, The Naked Ride Home in 2002. And while some of Browne’s output has been poorly-received by the music consuming public, even his harshest critics cannot deny the stellar level of musicianship that he brings to virtually every recorded number.

There are trademark hooks in his arrangements from the piano intro to “The Pretender,” to his mocking yodel on “Lawyers in Love,” from the power chords of “Running on Empty,” to the easy shuffle of “I’m Alive,” that keep folks coming back for more. But beneath it all lies a framework of words and lyrics that may be lost on casual listeners, but that many other hard core fans have committed to heart because it touches them in an extremely deep and individual way.

Many have described one or more of Browne’s songs as having specific reference to something going on in their lives at one or more specific moments – to the extent that they feel directly and personally connected to his writing, and to the artist himself.

Chatting briefly with Browne following his appearance March 29 at Foxwoods Resort, I confided that as a teenager, his music came along just in time to help me through some of my darkest days. While I felt kind of silly standing there telling Jackson Browne that his music saved my life, I was deeply gratified when he looked me in the eye and said, “Music saved my life, too.”

It is with that understanding that Browne has taken to the road for a second time in the past three years stripped down to man, guitar, piano, and nothing more than his words and melodies to guide him. In many ways it is the ultimate gift to his most passionate fans, and you quickly see how much it is appreciated based on how audience members can literally shout out dozens of the most obscure titles.

You also see a performer on a tightrope, dangling between what is most familiar, and his desire to oblige a single voice from the darkened audience by attempting to recall the words and music of some long-forgotten tune, and nailing it!

Apparently the only song on Browne’s setlist on this tour supporting his second volume of solo acoustic live material is the first song of the show. From there, he is armed to take on almost any musical challenge with a rack of guitars and the confidence to use them all, if necessary.

He opened the Foxwoods set with the first two songs from Solo Acoustic Vol. 1, “Barricades of Heaven” and “These Days.” Switching from a pair of vintage looking Gibson hollow-bodies to piano, Browne hugged the keys for the next four tunes.

He went all the way back to the first song on his first album, delivering a wonderful rendition of “Jamaica Say You Will,” before addressing the crowd for a few moments.

“I don’t know why but when I walked out here I felt so shy,” Browne said to a warm wave of applause. “For a Dancer” started out with an air of reticence, like he was actually thinking back and remembering his lost friend. But during that song Browne became transformed from that shy singer hiding behind his long bangs, to shaking away the veil and finishing the song in much more celebratory fashion.

Acknowledging the legion of Running on Empty fans, he performed “Rosie,” joking that, “…it’s always a guy yelling out for ‘Rosie’…usually a really big guy.” Browne then proved to all he’s still got what it takes to hit all the high notes, launching into “The Pretender.”

While Browne did not divulge the title of his one new song in the set, its lyrics were as good as any, exploring the feelings and emotions of adults learning to love again. With lines like “A friend will tell you lots of things a lover won’t” and “I want to be the man you come to see, but would never harm,” Browne seems to dispel the notion that a white hot moment of passion outshines the warm glow of trust that builds between friends who eventually become lovers.

The balance of his Foxwoods set was a greatest hits package, undoubtedly appealing to the widest audience. “Late for the Sky,” “Before the Deluge,” “Take it Easy” and “Running on Empty” were all accompanied by segments of the audience singing along.

He exhibited great slide work, donning a snappy sounding parlor guitar for “Your Bright Baby Blues,” and closing the single encore bow with “Fountain of Sorrow” and “For Everyman.”

Fans get one more chance to check out Browne this Sunday, April 6, when he returns to Connecticut for a turn at The Chevrolet Theatre in Wallingford. Go to JacksonBrowne.com for more information.