The biggest surprise about Norah Jones’ concert at Red Rocks Amphitheatre on Friday was not her flawless performance, aided nimbly by crack backers the Handsome Band. Nor was it the bevy of diverse covers she trotted out, though those made for a unique evening, too.
It was Jones’ effortless charm and rapport with the audience. It sets her apart from so many light-pop artists content to glide on pleasant songs and little else. The Grammy-winning vocalist and pianist may trade in sedate, delicate melodies, but her pulse beat strongly through the set with witty between-song banter.
Entering with her five-piece band, Jones nearly bled into the red-carpeted stage in her short crimson dress and black leggings. The gently rolling drums and spidery, Santana- leaning guitar of “I’ve Got to See You Again” ushered in what Jones sheepishly dubbed “the creepy portion of the set,” a line that elicited polite laughter from the crowd.
On “The Sun Doesn’t Like You,” Jones indulged in country-tinged piano flourishes, Adam Levy’s crisp guitar work melting gently into her piano work. As dusk waned she picked up the pace with the toe-tapping “Be My Somebody.” She prefaced “Rosie’s Lullaby” with the line, “Don’t fall asleep during this one,” but the song still throbbed with a peculiar energy.
Jones has been known to cover Tom Waits (“The Long Way Home”), so it’s no surprise her own “Sinkin’ Soon” took a page from that grizzled musician. Hank Williams’ “Cold Cold Heart” was immediately recognizable with its jaunty melodies, and the not-so-veiled political screed “My Dear Country” employed a toy piano in its waltz structure.
But the highlight of the evening – and this is saying a lot considering how crazy the crowd went for the late-set radio hits – was a cover of Townes Van Zandt’s “Colorado Woman.” It was the sparest of the night, with just Jones on finger-picked acoustic guitar, but it ensnared the previously chatty crowd.
From that point the evening took on added emotional weight, feeling more like a private show with friends than a glorified “Austin City Limits.” Opener M. Ward joined her on acoustic guitar and vocals for a rollicking version of Creedence Clearwater Revival’s “Green River,” and smash-hit closers like “Don’t Know Why” had the crowd screaming with joy.
Staff writer John Wenzel can be reached at 303-954-1642 or jwenzel@denverpost.com.
