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| Nathaniel Rateliff @ the Orpheum Theatre (Photo: Sean Reiter) |
It seems almost nonsensical to say that Nathaniel Rateliff and his 10-piece band brought an intimate performance to San Francisco’s Orpheum Theatre on Wednesday night, but that is exactly what the passionate audience received. His “And It’s Still Alright Tour” focused on Rateliff’s more sensitive solo material, rather than his high energy work with “The Night Sweats” that made him a household name. The tour that began before Covid in 2020 and was interrupted by a full band tour - was finally approaching its finish. “It took us four years to bring you this show,” Rateliff told the audience.
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| Nathaniel Rateliff @ the Orpheum Theatre (Photo: Sean Reiter) |
“For those of you who are surprised by the songs in this setlist and didn’t read the very large print about this tour, I’m sorry.” Indeed, the only Night Sweats song to show up Wednesday was “Still Out There Running.” “We never play it with the Night Sweats because it feels like it’s gonna take the steam out of the show.” Indeed, the show didn’t have a steam engine locomotive pace he’s known for. Rather, it felt like a lovely Sunday drive through the redwoods and along the Pacific coast. The songs found their power in Rateliff’s clear voice bringing home all their emotions, the elevating harmonies of his terrific backing band and the added depth of well-timed inclusions of the 4-person strings section.
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| Nathaniel Rateliff @ the Orpheum Theatre (Photo: Sean Reiter) |
“Tonight #2” saw a darkened start to the concert with Rateliff and his acoustic guitar illuminated by barely a candle’s worth of light as his haunting vocals filled the packed theater before the string section kicked in and the supporting musicians layered in their backing vocals. The lights came up brighter and the full band kicked in for “All of Nothing.” “Expecting to Lose” found a fun groove – the song’s vibe had it stagger down the street like a happy drunk walking home after closing time.
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| Nathaniel Rateliff @ the Orpheum Theatre (Photo: Sean Reiter) |
“Shroud” was delivered as the night’s first big rocker – supported by red lighting and keeping a skip pace with interludes of Rateliff and his beautiful harmonizers interspersing lines like “I’ve got no feeling about it at all” stretched out gracefully. Rateliff’s two drummer support was crucial in this song, driving the pace forward and adding layers to the rhythm. The string accompaniment of “Something Beautiful” was spectacular as the song was elevated from a piano-focused fun, frustrated love song to a symphonic expression of its possibilities.
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| Nathaniel Rateliff @ the Orpheum Theatre (Photo: Sean Reiter) |
“You Need Me” was highlighted by lighting that was reminiscent of the late 60’s – early 70’s American Bandstand with the lyric “It’s like you’re telling me now in the middle of the shit “I need you”” sung so sweetly. “What a Drag” took the crowd into a Phil Specter-like mixing with Laurel Canyon guitar sounds. After playing the lone Night Sweats’ entry of “Still Out There Running,” Rateliff stripped the sound way down with just his guitar to open “I Am,” before he was slowly joined by keyboards, and the two drummers to bring the song to a powerful end.
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| Nathaniel Rateliff @ the Orpheum Theatre (Photo: Sean Reiter) |
“These songs were huge in Germany and the Netherlands and then no one cared about them,” Rateliff joked. “But I’m excited to share them with you tonight.” With that, he launched into “Boil & Fight” off 2010’s In Memory of Loss. He was supported by beautiful slide guitar throughout the song. Rateliff dedicated “You Should’ve Seen the Other Guy” to his bootlegging great grandfather and then went into the tender “Early Spring Till” delivered with acoustic guitar and piano accompaniment and sung with a wounded howl. Indeed, Rateliff’s solo songs are deeply personal and often at least semi-autobiographical of a long, not easy journey with loss and pain dotting his path.
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| Nathaniel Rateliff @ the Orpheum Theatre (Photo: Sean Reiter) |
On the other hand, “Kissing Our Friends” was presented as a sweet take on being lonely before a gorgeous version of “Oil & Lavender” gave another opportunity for the string section to add deep emotion to a song. Rateliff delivered the song at a crawl, plucking every feather of emotion as the strings filled the nearly century-old theater (1926).
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| Nathaniel Rateliff & Kevin Morby @ the Orpheum Theatre (Photo: Sean Reiter) |
“Putting (“And It’s Still Alright”) out in 2020 was my way of figuring out how to deal with loss.” The album’s title track was accompanied by images of a psychedelic drive through a forest. “This” came forth with a spooky 1930’s style haunting song with a tango pace and vibe. Opener Kevin Morby joined Rateliff and his band for a cover of Leonard Cohen’s “There is a War” (more about Morby in a moment). Rateliff closed the set with a sparse, acoustic “Still Trying” (with its anchor lyric of “I don’t know a goddamn thing”) and a big, powerful version of “Time Stands.” Returning for the encore, Rateliff encouraged the crowd to stand and the entire audience rose for “Redemption” and its elevating chorus of “Just set me Free” followed by the closing “Mavis.”
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| Kevin Morby @ the Orpheum Theatre (Photo: Sean Reiter) |
Kevin Morby served as the perfect opener for this tour of Rateliff – provided a transcendent mixture of energy and haunting vocals. It was at least the second time through the Bay Area this year for the prolific Kansas City songwriter who was last seen around here up on Mount Tam for Sound Summit. Morby made multiple mentions of San Francisco and seemed generally thrilled to be back in The City. He dedicated “City Music” to San Francisco and included multiple regional references within Wednesday night’s version.
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| Kevin Morby @ the Orpheum Theatre (Photo: Sean Reiter) |
Delivering songs as a trio with a fellow guitarist and drummer, Morby’s version of “This is a Photograph” – the title track off his 2022 album – with terrific energy and set the crowd abuzz. He followed with an almost spoken word version of “Five Easy Pieces” before sitting at the piano for “Destroyer” and then delivering “Rock Bottom” as he aggressively played his guitar. He finished with a sweet and slow version of “Beautiful Stranger” and received a very warm ovation from the capacity crowd.
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| Kevin Morby @ the Orpheum Theatre (Photo: Sean Reiter) |
As many conflicts raged throughout San Francisco with the APEC controversies, Nathaniel Rateliff and Kevin Morby brought forth a supreme night of inner, emotional turmoil brought forward in a heartfelt, accessible and beautiful concert that will be well remembered by those in attendance. The demonstrated the power of great songwriting and soul-filled performances to resonate inside each of us internally while pulling us together as a collective.
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