After considering everything Jack White has done to music in the last 13 or so years, it was almost impossible to contemplate what he would concoct onstage as the ‘solo’ artist he’s recently become. White’s deftly maneuvered himself into the history books of rock ‘n’ roll via numerous bands, but it’s often felt they were just his backup, and that he’s never been more than a solo act.
No one but White himself could tell you how he feels about that, or how grateful he is for the musicians who have helped bring him to where he is. And that’s why it was something of a relief to hear him play songs from every one of his bands during this festival set. He even kicked everything off with the riff from The White Stripes’ “Black Math,” electing not to go further with the song, but exciting the hell out of the crowd by giving them just that little taste.
Backing him were Los Buzzardos, his all-male touring band – he also uses an all-female group known as The Peacocks, but they were nowhere to be seen this night. The men-only crew put on a great show, however, especially when the violinist onstage got thrust into the spotlight. In truth, though, it occasionally felt White wasn’t at his best – it seemed he had a cold, or that something was holding him back. This didn’t affect his performance much, but it was definitely noticeable that the show was not quite as good as it had been expected to be.
Regardless, at times White’s guitar work was the thickest and heaviest I’d ever heard it. His set was impressive in that he didn’t seem showy, or cocky, in that way he can sometimes be – rather, he seemed intent on the music, and it paid off handsomely. Fans got to hear The Raconteurs’ “Top Yourself,” The Dead Weather’s “I Cut Like A Buffalo” (which was completely reworked, tempo-and instrumentation-wise) and other such White Stripes hits as “Ball and Biscuit.” The latter was a super sexy one. It was slowed down and came with harder blues than the studio version. “Steady As She Goes” was also fantastic and fluidly played with touches of twang. White shredded fiercely on this one, then went solo and briefly sounded like Jimmy Page at his pickin’ best.
He also played many of his new songs, but one of the greatest moments came when he asked “Would it be alright if I did a Hank Williams cover?” White proceeded to churn out a terrific rendition of “You Know That I Know,” which he had covered for 2011’s The Lost Notebooks of Hank Williams. Choosing to suppress his personality and vocals in a respectfully country way, White sounded as if living in Nashville has made a huge impact on him. Now that he’s focusing on music more of his own accord, will he go further country-bound? Who knows. But it’s likely he’ll continue on as a force to be reckoned with, no matter what he decides to do.
