“I love New Orleans,” Paul Simon exclaimed during his tribute to Allen Toussaint at Le Petit Theatre last December. “I’m coming back down for Jazz Fest!”
And come back he did. Roughly six years after Simon and his 60s singing partner Art Garfunkel reunited at Jazz Fest’s Acura Stage, the legendary troubadour returned to the same hallowed ground for a tour-opening show that dove into his back catalog while also dabbling in some interesting, if questionably placed, new material.
Simon took the stage–acoustic guitar in hand–with a top-notch backing band that included multi-instrumentalist extraordinaire Mark Stewart. A staple of Simon’s recent tours, Stewart seemed to switch instruments between every tune, seamlessly moving between guitar, sax, flute and what appeared to be a PVC pipe. Simon also sported a button, pinned over heart, that featured a photo of his old friend Toussaint.
The show got started with a pair of classics in “Boy in the Bubble” and “50 Ways to Leave Your Lover,” the latter of which was capped off with a unexpectedly funky organ solo.
After that things took a slow turn, as Simon revealed that he would be playing a new song from his forthcoming album, Stranger to Stranger. The track–“The Werewolf”–utilized interesting bass textures, though the crowd was decidedly not enamored with the number. Simon followed the brand new tune with “Dazzling Blue,” another recent addition to his catalog that appeared on the 2011 release So Beautiful or So What, and which failed to inspire much enthusiasm. The already-too-talkative audience turned the chatter up a notch, with much of the talk in my immediate vicinity revolving around a displeasure with having to hear new material. (Side note: holding a full conversation in the middle of a concert crowd is immoral. Do not do it.)
Next came a pair of low-key classics in “Mother and Child Reunion” and “Duncan,” with the latter opening with an extended instrumental tease of “Sound of Silence” that seamlessly transitioned into the tune.
With crowd interest waning, Simon lept out his new/slow song rut when he launched into “Me and Julio Down By the Schoolyard,” a move that instantly put smiles on thousands of faces and convinced some to save their conversations for another time.
After that came a solid rendition of the titular track from Simon’s 1975 album Still Crazy After All These Years, as well as a pair of upbeat numbers from 1990’s Rhythm of the Saints, “Spirit Voices” and “That Cool, Cool River.” Simon’s keyboardist even managed to close one of those tracks with an electrifying piano outro–this is Jazz Fest after all.
For the last three songs of his main set, Simon tackled part of his acclaimed 1986 record Graceland. The string of fan-favorites kicked off, in perfectly Louisiana fashion, with “That Was Your Mother.” The foray into zydeco (which features lyrics about the late, great accordionist Clifton Chenier) went over very well with the crowd before the band toned it down a notch for “Diamonds on the Soles of Her Shoes.” Despite the lack of Ladysmith Black Mambazo’s soulful harmonies, the tune still sounded great, even wrapping up with a surprising–yet welcome–drum solo. Finally, the set came to a close with “You Can Call Me Al,” a bonafide smash hit that also happens to be one of the few genuinely danceable tunes in Simon’s repertoire.
Following a brief exit from the stage, Simon and his band began their encore with “Wristband,” yet another new song from his forthcoming album. The tune told the story of a performer’s frustration with a security guard that refuses to let him on stage with his band because he lacks the proper wristband. While it was fairly innocuous, the track did beg the question of whether or not Simon–a superstar for nearly 50 years–could honestly write about the plight of being denied credentials at a music venue.
The encore continued with an excellent, horn-laden take on “Late in the Evening” that provided a perfect foil for the show’s highlight, a stirring rendition of “The Boxer” that showcased Simon’s gentle vocals and subtle guitar work.
With the encore now over, those gathered at the Acura Stage began making their way toward the exits. The show–however–would still go on a little bit longer. Though his band was done for the day, Simon returned to the stage with his acoustic guitar for a solo rendition of “Sound of Silence,” finally breathing full life into a beloved song that had been teased earlier in the set. It may have been the tune’s name, or perhaps the fact that only the diehard fans remained, but for the first time all day not a word could be heard except those coming from the man on stage.
