The Black Keys and Friends Bring the Delta to Brooklyn Bowl

While it wasn't exactly like being in a Mississippi Delta juke joint, The Black Keys and their special guests ably re-created that vibe during a sold-out Aug. 9 show at Brooklyn Bowl. For almost three hours, through four sets plus a two-song encore, the fans who filled the floor and spilled over upstairs heard first-rate examples of the vitality and variety — as well as the unpredictable flamboyance, theatrics, humor and sometimes-over-the-top splendor — that can routinely be seen in juke joints both world-famous (like Ground Zero, the Clarksdale, Miss., spot co-owned by Morgan Freeman) and those unknown outside the tiny town they serve. The show also nicely re-created the qualities that make the new anthology Tell Everybody!: 21st Century Juke Joint Blues From Easy Eye Sound, produced by Easy Eye founder and Black Keys singer-guitarist Dan Auerbach, so enjoyable. 

Leading things off was Bentonia, Miss., vocalist and guitarist Jimmy “Duck” Holmes, whose 30-minute set was entertaining and dynamic. He exhibited what differentiates the Delta version from other blues strains. His songs were more sprawling, rambling narratives than carefully crafted, quick-hitting statements. His guitar accompaniment was crackling and continuous, percussive and adeptly underpinning his piercing vocals. His set's highlight was a rippling version of “Catfish Blues,” but his entire presentation was animated and powerful. Although he maintained his seat throughout, Holmes’ performances never lost energy or authority.

Next was another variation on the Bentonia approach, filtered through a Chicago lens, courtesy of Gabe Carter. A raspy-voiced, emphatic vocalist and guitarist, he delivered his strongest outing on his single “Buffalo Road,” which is also his finest contribution to the current anthology. His set got some tremendous rhythmic energy and assistance from drummer Kinney Kimbrough (who is one of the late Junior Kimbrough’s sons), adding just the right amount of crisp, sizzling rhythms under Carter's vocals and guitar lines. Carter kicked the audience's energy level up a notch as well, singing with a bit more volume than Holmes and bringing a different variety of showmanship, with its own movements and mannerisms, to the proceedings.

Carter’s set paved the way for the night's biggest star among the three non-Black Keys performers, Louisiana blues and soul vocalist Robert Finley. Finley, who is legally blind, was led onstage by his daughter. Once he got the microphone, Finley gave a master class in how they do it back home. Swaying, dancing and delivering vocals that were equal parts assertive and compelling, he whipped through a remarkable set that included songs from his recent LP Sharecropper’s Son and his forthcoming release Black Bayou. He got a particularly strong reaction from a madcap rendition of “Sneakin' Around.” Finley swiveled and punctuated the tune’s accusatory refrains while ripping through the chorus in passionate fashion. 

Finley rightly got the biggest ovation of the pre-Keys performers, though it was quite apparent that the bulk of the folks came to see Auerbach, drummer Patrick Carney and their bandmates. The finale set the crowd got wasn't a disappointment by any means. Despite the fact there had already been more than two hours’ worth of fiery and memorable numbers presented, The Black Keys more than matched what came before. Through their 45-minute set, Auerbach leaned into his masterful guitar solos, while Carney continually contributed ample doses of rhythmic might. For me, their most memorable performance came near the end: Their spin on “I Heard It Through the Grapevine” is one of the best conversions of a soul staple into a rock-and-blues workout you’ll ever hear. Their nearly 10-minute rendition looked to cap what had already been a fabulous night. 

But the crowd wasn't ready to hit the streets just yet. Amid yells, cheers and whistles, the Keys came back out for an encore, bringing Finley back for an energetic rendition of “Tell Everybody.” Then with Kimbrough joining in on drums, they ended the show in strong fashion, having provided everyone an object lesson in how to update a vintage form without losing the musical virtues that made it beloved. Throughout the range of takes presented, everything sounded fresh and captivating for both demanding veteran fans and a new generation of listeners.

Features

Easy Eye Sound Celebrates, Extends and Updates the Blues on ‘Tell Everybody!’

• Ron Wynn