Michael Falco for The New York TimesAlison Krauss and Robert Plant performed at the WaMu Theater at Madison Square Garden.
The date on the "add the sand" (Rounder), spooky album beautiful issue year Robert Plant and Alison Krauss tilt toward each other from different vantage points: a dazzling bluegrass coolly plaintive (his) and a heat blistered arena rock (his) own scouted out material with producer T Bone Burnett mines deep dark boundaries of Americana quite familiar, but two of spring rain from chemical contrast. Period of coexistence, even the most energetic, colorful fruitful media.
Mr. and Ms. Krauss almost to the point the WaMu Theater at Madison Square Garden as the first of two Saturday concerts have each taken over from opposite wings as predators stalking like cartoon gait rhythm of their parallel in the "Rich girls," a throwback to the open R&B with non-symmetry album. In its height and Don Black, and in her flaxen manes.
What loosened and quickened music next up was "leave my woman alone a spunky Ray Charles admonition by Ms. Krauss grabbed her fiddle and sang through his Plant bracingly groove has two steps and then came" classic Black Dog Led Zeppelin with his old band Plant are arranged in a minor key for banjo, bass and guitar is not menacing, but would not vote, particularly as both singer voice their arced. ready to meet "before the scream video instrumental.
"Welcome to Revue sand added Mr. Plant stated that after the actual song summary based on this tour, while undeniably from the album Welcome to the liberties using repertory and tone, Mr. Burnett leading circle of hotels including drummer Jay Bellerose and guitarist Buddy Miller kept the momentum with lively. In the list to appear. Change from night to night, which is not recommended without imagination, so much to the sturdy formula works mightily to judge. By the results of Tuesday.
As a revue tour supports their strengths in a way that not headliners "sand" to have two more Led Zeppelin tune each powerhouse "Black Country woman" was the band expand each spur emotions in the lyrics and subsiding, till the next angry waves.
"Battle of Evermore" is good because the drone of Celtic (sound is far removed from Appalachia) and the women's section (Ms. Krauss sings grippingly) but quieter and even in some songs from the album "Add sand" Mr. Plant are push rewardingly: "Nothin" melancholy Townes Van Zandt met him as he ages caterwauling.
Ms. Krauss show themselves. Starting with the traditional hymn "Green Pastures, where she received sparse support from Dennis Crouch on bass and Stuart Duncan on guitar, and her more pared-down singing serenely of penetrating" into the River to pray first, with no accompaniment (Middle. Mr. Plant mock-tiptoed onstage support Gospel harmony in cappella.)
If this collaboration encourages Mr. Plant is a bit more Ethereal has certainly made Ms. Krauss seems earthier she sing sweet, characteristically, not balance with high belting strident and cathartic on "La and therefore up to you," That does not appear on the "Add sand" and "Trampled rose, where she proved her ability to cry even harder as anyone you know who.
Elsewhere a better proof of interesting combinations The closers back-to-back: "Please read the letter, a ballad by Mr. Plant and" Gone Gone Gone (done Moved on), "classic Everly Brothers and then by a final encore:" a long walk with your doc and Rosa Lee Watson Ms. Krauss and Mr. sing it wonderfully Plant. Access to the intensity that somber as they possibly could. He hits the road
Robert Plant and Alison Krauss made on Friday at Merriweather Post Pavilion in Columbia, ill., and Saturday at the Civic Center Asheville in North Carolina.
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