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Robert Plant & the Sensational Space Shifters/Solo - 2016 Gigs/Tour Dates


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13 minutes ago, reswati said:

Very cool indeed.........(waves hands)....looooooooooooooove!


4 minutes ago, luvlz2 said:

That was brilliant.

Glad you guys enjoyed it, very similar to what he did earlier in the month.  "In The Mood" was one song he didn't play and I thought they did an outstanding job performing it tonight!


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Robert Plant mixes old and new at ACL taping
March 22, 2016


Robert Plant & the Sensational Space Shifters at ACL Live, Monday, March 21, 2016. Courtesy of KLRU-TV/Austin City Limits; photo by Scott Newton

When Robert Plant announced at the end of Monday night’s “Austin City Limits” taping at ACL Live that he and his Sensational Space Shifters would close with “an old English folk song,” the crowd didn’t seem to be buying it. Sure enough, the band kicked in to Led Zeppelin’s classic “Rock and Roll,” sending his die-hard fans home with one more classic memory in a show loaded with them.

Of course, at this point, “Rock and Roll” kind of IS an old English folk song. One of five tracks in the set that dated back to Led Zeppelin’s landmark first four albums, it’s nearly half a century old now. At 67, Plant has grown well beyond his rock star days, and yet those old songs seem to have caught up with him, sounding revitalized in the context he now places them alongside the more recent work he’s created with the Space Shifters.

The set drew four songs from “Lullaby and the Ceaseless Roar,” the 2014 album that Plant and this six-piece crew — guitarists Liam Tyson and Justin Adams, bassist Billy Fuller, keyboardist John Baggot, drummer Dave Smith and multi-instrumentalist Juldeh Camara — have been supporting on the road for the past two years. That album’s title hinted at the show’s dynamic range, with the roar of tunes such as “Turn It Up” and the Led Zep opener “The Lemon Song” tempered at times by more acoustic fare such as “In the Mood” and “Babe, I’m Gonna Leave You.”
As he has done often in his solo career since Led Zeppelin called it quits in the 1980s, Plant sought to push the connections between rock ‘n’ roll and traditional African music in this performance. Adams and Camara used traditional African instruments on many songs, most notably Camara’s fiddle-like goje, while Tyson’s occasional switch to banjo underscored the African-to-Appalachian musical connection. On the recent album’s highlight “Rainbow” — which they reprised in the encore to get a better take for broadcast — most band members thumped hand-held bendir drums, kicking up the rhyhmic impact of the song.

But even when the band whirled into a maelstrom on crowd-pleasing Zeppelin staples such as “Black Dog” and “Whole Lotta Love,” the focus was still squarely on Plant’s voice, which remains not just powerful but dominant. It’s the whole presence, really, that leaves an impression: Dressed entirely in black (as was the whole band), sometimes strolling the stage with the mic stand and sometimes just listening keenly to the detailed playing of his bandmates, Plant commands attention. And when he tells little stories between songs — whether referencing his brief stint as an Austinite a couple of years ago, or musing over what Charley Patton was writing about in the song “Spoonful” — he speaks not with a rock legend’s grandeur but with a casual, good-natured grace.

Monday’s show was the last of three appearances in Austin over the past few days, following a Sunday ticketed concert at ACL Live and Wednesday’s cameo at the Austin Music Awards during SXSW paying tribute to the late local DJ Paul Ray’s “Twine Time” radio show.

Set list:
1. The Lemon Song
2. Rainbow
3. Black Dog
4. Turn It Up
5. Spoonful
6. In the Mood
7. No Place to Go
8. Babe, I’m Gonna Leave You
9. Little Maggie
10. Fixin’ to Die
11. Whole Lotta Love
12. Rainbow (retake)
13. Satan Your Kingdom Must Come Down/Poor Howard
14. Rock and Roll


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What a great broadcast from Austin last night.  Just an overall great show and the band was so tight and Robert in great vocal form.  Watched the whole show.  I think it was the first time since the O2 show that I enjoyed one of his versions of Black Dog!  In The Mood was great scaled down.  Enjoyed all the blues references in the songs and too many to mention.  They probably didn't get Rainbow quite right the first time and why for a repeat performance.  Just an overall great performance and show by everyone and just wish I was there!  Hoping Robert returns to the NYC area shorty as I feel he will as seems to start off in the south first with a few dates.  Hopefully, in the summer!

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4 hours ago, SuperDave said:

What a great broadcast from Austin last night.  Just an overall great show and the band was so tight and Robert in great vocal form.  Watched the whole show. 

Seeing Robert Plant on television is one thing, seeing Mr. Plant live and in person is a very different experience.  I was there last week with zepscoda to witness Mr. Plant live and in person.  What an amazing show. 

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Robert Plant: "Naples arrival"

"I'm coming to Naples, fantastic. After Ibiza, Napoli rocks". Robert Plant greets the city from the Cafè of the Balearic Sea. He will perform at the Arena Flegrea in Naples on July 22.



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A weird, lovely night at David Lynch's Festival of Disruption
Festival of Disruption

The David Lynch Festival of Disruption played out a the Ace Hotel on Oct. 8, featuring music from Robert Plant and St. Vincent along with an array of talks and film screenings. (Barbara Davidson/Los Angeles Times)

by August Brown

“Disruption” is just about the hoariest cliche in contemporary culture, but few artists can better claim the term than David Lynch. The director, musician, meditation activist and onetime local weatherman has upset the dreams of more filmgoers than almost any living director, with a career spanning unnerving classics like “Mulholland Drive,” “Eraserhead,” “Blue Velvet” and a soon-to-be-revived “Twin Peaks” series on Showtime.  

On Saturday and Sunday, at the Ace Hotel and surrounding environs in downtown L.A., Lynch threw his own Festival of Disruption, a genre-expansive event of music, film, talks and theater made all the more Lynchian for sounding like a culty “Thought Leader” event. The headliners included Robert Plant, St. Vincent and even Mel Brooks, but everything passed through a filter of Lynch.

And as “Twin Peaks’” special agent Dale Cooper might have put it, on Saturday, there were many damn fine cups of coffee to be had.

The festival was a benefit for Lynch’s eponymous foundation, which promotes the practice of transcendental meditation, a technique that has earned fans from pop figures including Oprah, Katy Perry, Russell Brand and even Rupert Murdoch. Throughout the weekend, onstage imagery and video alluded to its positive effects for healing PTSD-affected veterans and trauma victims.

TM’s omnipresence at the festival only added to the sense that that, whatever the wide-ranging aesthetics of the acts, Lynch’s eye was everywhere.

“The human brain has 60,000 thoughts per day; 80,000 if you’re stressed, and if you’re in the West, you’re stressed. Meditation can be a tool to look inward,” said Jessica Harris, the foundation’s executive producer for live events, as she leaned over a table in the Ace’s Segovia ballroom. “Musicians go into that same space when they’re creating -- they go into another world.”

By day Saturday, most of the exhibits were decidedly otherworldly. A virtual-reality exhibit from director Chris Milk looked to the deep future; a talk with the legendary Brooks looked back at his incomparable career in humor. At the nearby Well gallery, as a harsh, noise-serrated John Malkovich short played on a projection loop, Blondie guitarist Chris Stein hung out behind a curtain next to a new series of his photographs. They often captured his frequent and perhaps favorite subject: Debbie Harry, posing in the throes of lost downtown New York City decrepitude, setting dinner on fire, laughing with Joey Ramone or simply leaning on a wall next to a giant spider.

“There’s a romance in decay,” Stein said. “Nostalgia is a trap, and nobody had any clue what was going on at the time. But I do appreciate [’70s New York] more in retrospective. There was a time when you took your life into your hands walking around with a camera.”

Of course, with Lynch, you sometimes take your life into hands watching what comes out of his camera. Before the concerts, Lynch’s own photography exhibit focused on still lifes of L.A. entropy and weird glamour. A string of interstitial short films, including a pain-inducing commercial for the pain reliever Anacin and a video for Nine Inch Nails’ “Came Back Haunted,” set the mood for the show to come -- spooky, funny, and technically masterful.

First off, U.K. electronic producer Jon Hopkins married steel-toed techno with lovely ambient passages. He’s worked with Coldplay, Brian Eno and Herbie Hancock, but at the Ace, he went all-in for a set of mind-frying club music punctuated with melancholy piano work. Hopkins has cited meditation as a key driver of his work, and he made as good an argument for its efficacy as anyone could.

St. Vincent used a more intimate framework for her set -- just her and a guitar, with a multitasking pianist and sampler on the side stage and a trio of costume-changing dancers splaying around a living-room stage set. Dressed in a Daytona Beach-style bikini babe airbrushed shirt, she looked droll as hell while sounding piercingly beautiful on stripped-down version of songs like “Teenage Talk” and “I Prefer Your Love.”

Most of Plant’s classic rock peers were out in Indio headlining the Desert Trip festival all weekend, so it’s poignant that the Led Zeppelin frontman chose to spend his Saturday headlining this festival. Plant and the Sensational Space Shifters sounded marvelous on his newer cuts like “Turn It Up,” weaving African desert guitar lines into American blues and ’70s arena-rock howling.

But a cover of the Zep staple “Black Dog” got turned inside out, with its tumbling riff cut off at the seams to make it sound eerie and open. Recognizable, but uncannily weird and new -- a perfect way to sign off of a night of David Lynch.




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