(Above: Robert Randolph and the Family Band examine the “Man in the Mirror.”)
By Joel Francis
The Kasnas City Star
As the temperature dipped into the low 60s Saturday night at Crossroads, Robert Randolph and his family band mounted a two-front war: against the elements and against early onset hibernation in the crowd.
Pedal steel virtuoso Randolph and his six-piece band immediately conquered the weather. Opening with the buoyant “Good Times (3 Stroke),” Randolph frequently jumped out from behind his instrument to hop around like his own hype man. That proved more than enough to get the blood flowing.
For whatever reason, the band had more trouble winning over the audience. The third-full venue was populated with people who would rather converse and take their pictures on cell phones than dance and listen. The only times the crowd was engaged was when Randolph gave them something to do, like clap or sing. Everything else was background music.
When the night’s first Man in the Mirror,” delivered gospel-style by Randolph’s sister Lenesha Randolph – failed to rouse the crowd, Randolph segued into a John Lee Hooker boogie. Inviting dozens of ladies onstage to shake their hips did the trick during the number, but once the song was over it seemed everyone wanted to talk about what or who they saw onstage.tribute – “
“Nobody” offered plenty of participation during the chorus and several encouraged call-and-responses. For a moment it seemed like everything would gel, but mic problems capsized “Gilligan,” scat-vocal number about the Minnow’s castaways played on a squareguitar, and the crowd grew restless with the ensuing jam.
Finally, after 75 minutes onstage, Randolph got the crowd on board. “I Don’t Know What You Come To Do” had plenty of cues to clap and stomp along and the audience joyously obliged. That bled into “Ain’t Nothing Wrong With That,” which teased the riff to “Whole Lotta Love” and featured an organ sound straight out of “96 Tears.”
The second Jackson tribute went over better than the first. Sliding into the melody of “King of Pop’s passing, gave the crowd a forum to both sing and dance. The night ended with “Roll Up,” an unreleased number similar to what Randolph had been serving all night. This time everyone was up for it.” after a brief encore break, Randolph, who has been playing MJ songs long before the
Randolph’s upbeat music rocks the middle ground between gospel and funk, and his songs are basically vamps and choruses. His band can ride a groove into the sunset, but when the organ player leaned into his B3 with some gospel chords the performance kicked up another level.
Wearing a silk do-rag, pink tie, dress shirt, black vest, plaid shorts and knee-high black nylon socks, Randolph looked like a cross between LL Cool J and a middle infielder. If he was frustrated by the distracted crowd, Randolph didn’t show it. He grinned from ear to ear all night, dancing in his seat under the pedal steel or two-stepping across the stage behind a six-string.
When the parade of ladies left the stage after “lip service for most of the night.” several of them planted a kiss on Randolph’s cheek. Lost in his playing, Randolph never looked up or acknowledged the gesture. He was wise to ignore the adulation from a crowd that gave little more than
Setlist: Good Times (3 Stroke), Deliver Me, Man in the Mirror, Shake Your Hips,, Nobody, , Gilligan, I Don’t Know What You Come To Do, Ain’t Nothing Wrong With That, (Encore) Rock With You, Roll Up
(Below: Paper setlists are so passe. Photo by Joe Hutchison.)