Some artists take pride in varying their set lists night by night, city by city. Others try to hide the fact that they’re playing the same songs in the same order for months on end.
Adult-contemporary artist Keb’ Mo’, born Kevin Moore, happily revels in the predictability of his sets. He started his most recent tour more than a month ago with a solid assortment of songs that cover his new record, “Suitcase,” and span his seven other studio releases. He stuck with the list for a few shows, but it felt longish.
So he cut two songs, and now he has a set he’s comfortable living in. He plays the same songs in the same order almost every night, and he loves it.
“It’s perfect,” Mo’ said from Aspen earlier this week. “I like to stay with a nice, consistent show. It’s like doing a play, in that it’s written a certain way and it follows a story and does a certain thing every night, but if you were to insert a different scene one night, it changes everything.”
Consistency is a recurring theme for the Los Angeles-born Mo’, who closes his Suitcase Tour at Beaver Creek’s Vilar Center tonight and at Denver’s Paramount Theatre on Saturday.
The artist has released eight studio records in 12 years, and his rise to mainstream recognition and acclaim has been steady. Friendships and tours with like-minded musicians Bonnie Raitt and Jackson Browne didn’t hurt, but ultimately Mo’ has forged his reputation with his music and impassioned performances. But one of Mo’s common distinctions remains up in the air.
Is it fair to classify Keb’ Mo’ as a blues artist?
Some lazily say yes, but a close listen to any of his records of the past decade proves he’s more of an adult-contemporary crooner than blues singer. In the same way his mentor and friend Raitt has walked that same line, Mo’s music is informed by the blues, but it’s a misnomer to call him a straight blues singer.
Given the state of the music business, if Mo’ were a blues singer, chances are you would never have heard of him.
While his music is FM radio-friendly, Mo’ writes songs that deal with territory that is all too familiar to more traditional blues artists. His most recent collection of songs, “Suitcase,” is about the emotional baggage of relationships. At every turn, from “Rita” to “Whole ‘Nutha Thing,” Mo’ is waxing about his problems and his triumphs in and out of love.
“I never stopped to analyze, to see if it’s a theme record, but it does deal with a lot of love songs,” Mo’ said. “It’s really steeped in relationships, but I didn’t do it intentionally. The themes of my records are usually whatever I’m dealing with at the time I wrote them. And if you look back on it, there is a consistency to it.
“It’s me making a statement, and when those songs get played, I remember where I was at that time, like it’s a photograph. I remember where that record came about. It’s an important and essential marker for an artist.”
“Suitcase” came out in June 2006, and it found Mo’ at a busy time. He got married in November, and he and his wife, who split their time between homes in Los Angeles and Portland, Ore., are expecting a baby in early May.
“We’re touring with Robert Cray in the late summer, and he and his wife are having a baby, too, and their due date is a week away from ours,” Mo’ said. “We’re gonna be hitting the road with two newborns.”
For “Suitcase,” Mo’ reconnected with producer John Porter. Even though they’ve worked together extensively, it was essentially a science experiment. Since he last worked with Porter, Mo’ has taken up producing as a hobby. He guided the Subdudes to a cohesive triumph with “Behind the Levee.”
“He has a really amazing ear for the music,” Subdudes lead singer-guitarist Tommy Malone told The Post in 2006.
Mo’ also self-produced one of his 2004 records, “Keep it Simple,” to impressive results.
“And that gave me more confidence in my sensibilities,” said Mo’, 55. “I’ll be a little more aggressive now with what I feel is the way to go. But that experience also makes me listen more to what he has to say. It intensifies the process that’s already going on.
“But working with him is always different and it’s always the same,” Mo’ added. “There’s a personality dynamic that we share: We both care ferociously about the outcome of the record, but we both have a different take on how it should go. So we often fight the good fight … But when you’re making a record, it’s healthy to have misunderstandings because they lead to understandings.”
Pop music critic Ricardo Baca can be reached at 303-954-1394 or rbaca@denverpost.com.
—————————————-
Keb’ Mo’
ADULT CONTEMPORARY|Paramount Theatre; 8 p.m. Saturday|$29.75-$39.75| ticketmaster.com, 303-830-8497
———————————————
6more
MARIA TAYLOR Straight outta Omaha, this half of Azure Ray has songs you’ll remember – and the perfect voice to deliver them. She plays tonight at the Hi-Dive.
THE PONYS If you like your rock crunchy and reeking of the psychedelic ’60s, then meet the Ponys. The Chicago band that recently signed to Matador Records plays Saturday at the Larimer Lounge.
MENOMENA Of the many rock bands making a home in Portland, this is one of the buzziest groups going. They play Saturday at the Hi-Dive.
JOHN LEGEND The lauded R&B singer has built a career on sensual songs and a silky voice. He brings his show to the Wells Fargo Theatre on Tuesday.
ASYLUM STREET SPANKERS These quirky Austin roots-rockers are always game for silliness and Beastie Boys covers. They play Thursday at Dulcinea’s 100th Monkey.
JOHN PRINE Prine is one of those singer-songwriters who seems to have been everywhere. He returns to Denver on Thursday with a Paramount Theatre gig.
– Ricardo Baca
