SCRANTON — Jackson Browne’s show last Wednesday at Toyota Pavilion at Montage Mountain was, essentially, two concerts, with Browne opening for himself. During a meandering, laidback duet set, the singer/songwriter, with multi-instrumental virtuoso David Lindley, casually delivered some unique songs, relaxed banter and deep musical exploration. And after an intermission, Browne, with his full band, offered up an extended selection of the mid-tempo electrified folk rock that’s made him a star.
Striding onto the stage with Lindley and without any fanfare, Browne good-naturedly welcomed the crowd of 2,950 and stated they’d be opening with a Warren Zevon song; Browne and Lindley were both friends and collaborators with the late musician. Lindley handled lead vocals on the tune, “Seminole Bingo,” a dark tale of money won on junk bonds and lost in a casino. Lindley announced the next song, Bruce Springsteen’s “Brothers Under the Bridge,” a poignant one about homeless Vietnam veterans. Lindley again took lead vocal duties, singing, “Over nothing you end up on the wrong end of someone’s knife” in his reedy but pleasant voice.
Lindley and Browne continued to display their strong rapport with each other, with Browne singing his own “For Everyman,” the title track of his 1972 sophomore album and “Looking East,” a socially conscious song featuring some exotic string work by Lindley. Browne left the stage for Lindley to perform some of his own material, including “Copperhead Road,” before the set came to a close. It would be inappropriate to describe this half of the show as exciting, because of the light, intricate nature of the music. But it was interesting, and it was well-received by most of the audience in this intimate setting. (The lawn was closed and the capacity was dropped to 3,500 for the show.)
After the break, Browne returned, now accompanied by a bassist, drummer, electric guitarist, keyboardist and a pair of backup singers, kicking off with “Time The Conqueror,” the title song from his latest studio album. At one point, the gracious bandleader stepped back to allow his musicians, specifically guitarist Marv Goldenberg, to take some of the spotlight.
Browne, who canceled a show in Buffalo, N.Y., earlier in the week due to an illness, said, “I feel really good tonight,” and noted he’d been spending some down time in Scranton, before launching into “Giving that Heaven Away,” another “Conqueror” track. Goldenberg was again a featured soloist, as was organist Jeffrey Young.
Browne and his band, occasionally accompanied by Lindley on various instruments, moved through songs of varying popularity, but it’s worth noting that Browne has an uncanny knack for making songs that you don’t know sound familiar; that’s a credit to his songwriting as well as his inviting stage demeanor.
Browne switched to keyboards for a few songs, including “The Pretender” and “For a Dancer,” during which Lindley played violin.
Stopping his introduction to a song to address a fan’s request, Browne said, “What’s that? This is just one of those places where I really can’t figure out what you’re saying. I can’t hear what you’re saying, but I’m pretty sure you’re not calling for this song,” he added, laughing, “because no one ever calls out for this song. But you’re gonna like it.” He led the band into “My Problem Is You,” in which Browne and the band brought the volume level down while he walked near them, before amping it up again. Next up was “Too Many Angels,” an understated marvel with Middle Eastern overtones.
Browne closed the set with his hits “Doctor My Eyes,” which got most of the fans out of their seats and featured a wild Goldenberg solo, and “Running On Empty.”
The encores were not more Browne hits. Instead, he played a fun and rocking version of Lindley's “Mercury Blues,” allowing some of the band members to take lead vocals on the first two verses, and a lengthy take on the politically charged “I Am A Patriot,” written by Little Steven Van Zandt. Not the typical way to end a show, but fitting. Deeply personal and deeply political, it’s what Browne’s music deserves.
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