Steely Dan wow Wembley with songbook wizardry
Tuesday, March 5, 2019
There are few gig-goers who would describe the SSE Arena as their favourite venue but despite the lengthy queues, security checks by brusque staff and questionable acoustics, Donald Fagen’s legendary outfit – many of whom have been doing Steely Dan gigs for more than 10 years – quickly had the ageing über-shed rocking.
They were set up nicely by a high-energy opening performance by Stevie Winwood’s latest band. This was a stadium gig played as if in a small theatre.
Winwood’s set featured thrilling UK saxophonist Paul Booth, Brazilian guitarist José Neto (remember his playing with Airto Moreira and Flora Purim at Ronnie’s in the 90s?) and brilliant, fiery Incognito drummer Richard Bailey. Later, Winwood joined Steely Dan to sing lead vocals on the shuffle ‘classic’ ‘Pretzel Logic’ (“a classic – if you believe in such a thing” quipped Fagen); how fantastic to hear his thick golden voice telling us how he’d “love to meet Napoleon” but “hadn’t found the time” (the lyrics are about time travel it is said).
Fagen complimented Winwood, telling us he was a tough act to follow but, as ever, whatever the Dan co-founder member lacks in range and volume he makes up for with character and inflection, helped by the supreme vocals of the Danettes: session singing royalty – Carolyn Leonhart, sister of trumpeter Michael – Jamie Leonhart and La Tanya Hall).
Much of Steely Dan’s repertoire features lush arrangements, with every instrument in a special place in the harmony. With so many voices – Jim Pugh (once star trombonist with Woody Herman’s Herd), Michael Leonhart (trumpet), Roger Rosenberg (baritone sax) and Walt Weiskopf (tenor) and the BVs – you’d be concerned that detail would be lost at such a hall but only Freddie Washington’s bass suffered significantly, as you’d expect in this cavernous space.
The set list covered the 1972-1980 range from Can’t Buy a Thrill to Gaucho; Fagen seemed happy to use the two hours to give the audience what they craved most, which meant strictly golden era material, nothing from the more recent, under-appreciated, Two Against Nature and Everything Must Go.
The Danettes, led by Hall, took on ‘Dirty Work’, setting spines a-tingling. On drums, Keith Carlock (recently reviewed here with Mike Stern’s band at Ronnie's) drove proceedings with enormous momentum, taking mesmeric solos on 'Aja' and 'My Old School'. A poignant moment came on crowd favourite Josie with guitarist Jon Herrington playing the deceased Walter Becker’s solo note for note – after a wonderful solo piano intro from the jazz maestro Jim Beard.
Earlier, Herrington quoted elements of Larry Carlton’s solo on ‘Kid Charlemagne’; Jay Graydon’s famous take on ‘Peg’ and both sides of the Denny Dias/Jeff Skunk Baxter exchanges on ‘Bodhisattva’. His own sinewy, dextrous playing shone through all night. Encore 'Reeling in the Years' saw Herrington joined by Elliot Randall, who played the original solo in 1972 – said to be Jimmy Page’s favourite guitar break.
There was no mention of Becker from Donald two years after his death, but the co-founder's mic and guitar stand were still set up on stage as always – that said enough. Fagen’s gigs always contain nods to other great composers and musicians; the set opener was Ray Bryant’s ‘Cubano Chant’; the band introductions were made to a supremely funky ‘Keep that Same Old Feeling’ by the Crusaders, and Donald left the stage to Joe Williams’ ‘A Man Ain’t Supposed to Cry’.
Stadium gigs aren’t usually like this; they’re about costume changes, video screens, choreography, pyrotechnics and giant props. Here, it was purely about the songs, the arrangements and the performers. As Fagen said: “Not bad for a Monday night.”