Magistrale, overtime, are the two adjectives that come to mind after witnessing al concerto di John Hiatt and the Combo all’ Auditorium , una venue finalmente all’altezza delle esigenze acustiche degli appassionati e dei paganti, un teatro completamente rivestito di pannelli di legno dove le onde acustiche trovano la loro collocazione migliore sovrapponendosi, interferendo e riflettendo nel più armonico dei modi. Ci voleva un ambiente simile per premiare un set eccellente come quello di John Hiatt che col bassista Patrick O’Hearn , il bravissimo chitarrista Doung Lancio e l’amico di cordata, il batterista Kenneth Blevins ha dato vita ad un concerto intenso e romanticamente old time valorizzando con un sound asciutto e its rich guitar songbook. Titles now become classics drawn from his albums of the past (particularly Bring The Family, Slow Turning and Walk On ) and recent tracks, those award- The Open Road arrangements that have benefited from them revitalizing the second hours as a semi-acoustic guitar with a lot of leaders and mandolin by Launch (eg Crossing Muddy Waters full of humor and a country-blues Tennessee Plates pulled country-rock), or were soaked in a dense foam like the dark blues Like A Freight Train and delusional Memphis in the Meantime , one of the absolute highlights of the show. A bluesy sound has characterized the performance of Hiatt made even more evident in his voice but also a Negroid rattling guitar rock when there has been real instrumental improvisations as long to U2 Real Fine Love or a final jammatissimo Riding With The King colossal where it seemed to have in front (look permitting) the Sticky Fingers-era Stones.
Hiatt and his associates were able to twist the songs in a positive way by giving them live that dimension which is that you ask when you go to a concert and there sits in a chair listening to the studio album. The phenomenal interplay of guitars, 's sound and Telecaster of Hiatt and the many used by Doug Launch, a true magician of the six strings that has been satisfied now with Gibson, now with Fender now anonymous and stained with cheap guitars, now with a beautiful orange Gretsch of the fifties sound, each time adding flavors and delights in songs that already are the masterpieces. Why Hiatt's skill beyond his loud, deep, expressive that raises and lowers shades of light in a dark amazing game that lets you move from confidence to the R & B crooner scream and then the depth of blues and its ability to stay in scena come performer è proprio la ricchezza del suo scrivere, una serie impressionanti di storie, immagini e personaggi che da sole potrebbero raccontare l’avventura dell’animo umano. Canzoni diverse l’una dall’altra, ognuna riconoscibile, memorizzabile, tutte ricche di anima e sentimento. Sia che siano ballate del cuore come l’uggiosa Feels Like Rain , come la forte Cry Love , come la bucolica Walk On e come una riveduta Have A Little Faith con la chitarra, sia che siano quelle scoppiettanti cavalcate di Drive South, Perfectly Good Guitar, The Open Road, Slow Turning che offrono il lato più selvaggio e stradaiolo di Hiatt.
Tanti gli applausi ricevuti dall’artista e dal suo combo e tanti i ringraziamenti dell’artista verso un pubblico niente affatto numeroso, unico neo di una serata indimenticabile.
Mauro Zambellini Ottobre 2010
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