Personal Favorite: Another Rockin' Night with Willie Nile and Band -- Chicago Concert Review

Concert Review

Willie Nile & band

w/ opening act Brad Ray

Evanston SPACE

October 19

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There are a lot of rock acts I've seen and reviewed who wouldn't be considered super famous.

Alejandro Escovedo, Stereophonics, Maxïmo Park, Ash and The Waterboys are just a few "personal favorites" who aren't household names.

Of this ilk, I don't think there is anyone I've seen or championed more than Willie Nile, particularly in this decade.

Friday night at Evanston's comfortable SPACE venue, I saw Nile live for the 8th time.

This lags well behind the 50 I've seen his pal, Bruce Springsteen, but isn't bad for a 71-year-old rocker I only learned about around 2008 (via the Springsteen fan site, Backstreets.com).

I've caught Willie in various incarnations: backed by Chicago's Nicholas Tremulis Orchestra, solo
acoustic, paired with bassist Johnny Pisano and with his own touring band, which has varied over the years but includes Pisano.

Friday was a band gig with a quartet including Nile, Pisano, guitarist Jimmy Bones and drummer Jon Weber.

For whatever reason, SPACE had another show booked for the same night.

No offense to the later performer, singer/songwriter Anais Mitchell, who composed the current Tony Award-winning musical, Hadestown. I might’ve liked to have seen her, but her 9:30pm show was sold out. And it meant that Willie was only slotted from 7:00-9:00pm, including an opening act.

Smartly, the opening act, a young singer/guitarist from Georgia named Brad Ray, took the stage at about 6:50pm, allowing for about a 35-minute performance.

Playing acoustic guitar and singing some nice-sounding songs, he was accompanied by his dad, who played some fine licks on electric guitar and provided harmonies.

So Nile and his band didn’t take the stage until 7:40pm, and though they were terrific, the set did seem slightly curtailed, without room for an encore.

That, and—perhaps as a consequence—the show just feeling a tad less frenetic than Nile band gigs in the past accounts for my awarding “just” @@@@1/2 (out of 5).

But it was certainly good enough to be glad I went, as after opening with “Forever Wild,” Nile ripped through one of my favorites of his, “Run,” and was his usual gracious and loquacious self, dedicating “The Innocent Ones” to the Kurdish people and telling how his “This is Our Time” facilitated his meeting the amazing young activist, Malala.

From “All Dressed Up and No Place to Go” from 2018’s Children of Paradise to the rollicking “Heaven Help the Lonely” off 1991’s Places I Have Never Been, Nile demonstrated that he’s been writing great songs for a long time. (His self-titled debut came out in 1980.)

2006’s Streets of New York is the first album of his I came to know and love, and a highlight of Friday’s set was a gorgeous rendition of the title song, with Nile on piano.

The title track of 2009’s House of a Thousand Guitars was also delectable, as was a rocking cover of Lou Reed’s “Sweet Jane” and a show closing “One Guitar” with the Rays joining Nile’s band onstage.

Setlist.fm shows that the night before in Michigan, there was an encore of The Beatles’ “A Hard Day’s Night,” so the scheduling kept us from hearing that or some other gem.

Another 20 minutes or so would’ve been quite nice and—per past experience—likely quite phenomenal with the band fully revved.

But, another chance to see the great Willie Nile was appreciably fantastic nonetheless.

It’s somewhat a shame he remains one of my favorite "secrets," but undeniably one I’ve been very glad to know.

Earnest Dedication(s): At City Winery, Willie Nile Impresses Yet Again, on a Quieter Note -- Chicago Concert Review

Concert Review

Willie Nile
accompanied by Johnny Pisano
w/ opening act Nicholas Tremulis
City Winery, Chicago
April 14, 2018
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The ongoing viability of rock music is a subject regularly on my mind, and although I've often rhapsodized about it on this blog--without much to say beyond that there are still great bands I love to see, but not many new ones I know of--a variety of stimuli have prompted me to acutely consider it yet again.

From articles suggesting how the concert business may soon be hurting after the announced retirement of several legacy acts, to the deaths over the past few years of several artists I greatly enjoyed, to discussions with friends who attended the South by Southwest conclave, to the anniversary of Kurt Cobain's suicide--from which it could be argued rock 'n roll has never regenerated--there is likely gist for another meandering Seth Saith piece lamenting the future state of my favorite art form.

But while I believe there is genuine reason to be chagrined and concerned about relative lack of new rock acts with the seeming ability to rise above the din, one thing that does hearten me is the knowledge that--at least in terms of recorded music--I can conceivably be sustained for multiple decades with quality rock that already exists but which I have yet to discover.

In terms of cherished rock artists that I've come across in the 21st century, a few have arisen anew--Arcade Fire, The Killers, Maximo Park--but in terms of acts to which I was long oblivious, along with The Wildhearts a singer/songwriter named Willie Nile now stands near the top.

I learned of Nile as a FOTB--friend of the Boss--on the excellent Bruce Springsteen fansite, Backstreets.com, some time after the release of his wonderful 2006 album, The Streets of New York.

Prior to that, Nile had put out albums--to some acclaim, but not my awareness--in 1980, 1981, 1991 and 1999. See his Wikipedia page for some explanation of the odd cadence, seemingly due to legal and contractual issues.

Willie has put out six studio albums since Streets of New York, and I have now seen him in concert seven times, always bestowing @@@@@ or, as here, @@@@1/2 (on my 5-star scale).

Most of his Chicago area shows have looped in longtime local troubadour Nicholas Tremulis, and Saturday at City Winery Tremulis opened the show with an engaging 45-minute solo acoustic set.

Tremulis was talkative throughout, and after sharing that his erstwhile equipment van had broken down just that day, he sardonically and repeatedly referenced hoped-for audience generosity in helping him out.

I can't cite every song he played, and may not have titles quite right, but the first three were seemingly "Bless It All," "Red Line" and "Washington."

Tremulis also played an Irish country song--"Rambling Rover," I believe--covered Buck Owens' "I Don't Hear You" and did a fine tune he said he wrote "over the phone" with another favorite of mine, Alejandro Escovedo.

As best I could tell, this was called "Without You With Me."

After paying tribute to the recently passed Yvonne Staples, he ended his set with "Lover Man (Where Can You Be?)."

Tremulis would return to the stage for the last third of Willie Nile's set, but for the most part the headliner was accompanied by just his bass playing collaborator, Johnny Pisano.

I was somewhat disappointed to discover Nile wasn't playing with a full band, particularly as I had enticed three friends to also attend, and it wasn't quite the "OMG, he's awesome" affair his full-tilt shows have been.

But he and Pisano (and eventually Tremulis) played for a generous two hours, with tickets ranging from just $22-$30.

Without being locked into a band setlist, Willie took a nicely ad hoc approach, choosing songs from a big binder--see the setlist I posted to Setlist.fm--and telling lengthy anecdotes before nearly every one, and dedicating most to multiple inspirations.

Before playing "This is Our Time," he spoke with pride of not only meeting the social activist, Malala, but in having that song serve as a theme at a recent event honoring her.

Among others, he name-dropped Bob Dylan and Edgar Allan Poe prior to "Life on Bleecker Street," and performed two strong new songs--"Have I Ever Told You" and "Looking for Someone"--that should appear on an upcoming album.

The latter was written in Nashville with Andrew Dorff--a noted songwriter and brother of Stephen Dorff--shortly before he passed at 40 while vacationing in Turks and Caicos, and Nile spoke of him quite admiringly and mournfully.

Willie also told of visiting John Lennon's childhood home in Liverpool, where he was inspired to write the Beatlesque, "My Little Girl," and mentioned that "God Laughs" has a Buddy Holly vibe.

With Pisano following him adroitly, Nile showed his piano aptitude on "Sunrise in New York City," "I Can't Do Crazy (Anymore)" and "The Crossing."

Although the fans bellowing out song titles were buffoonish, hearing him do the requested "Whole World With You" would have been sweet, as it's probably my favorite of his.

But amid a couple Dylan covers--"Rainy Day Women" and Blowin' in the Wind," both on Nile's recent Positively Bob tribute album--and his own "Les Champs Elysees," "House of a Thousand Guitars" and "One Guitar," I'm glad he did "Vagabond Moon" for the insistent shouters, if only to shut them up.

All in all, it was rather like a show I saw Nile do at Evanston's SPACE in 2015, with just Pisano alongside.

Without the electric guitars and drums, it just isn't quite as scintillating, but the acoustic performance and laid-back atmosphere allowed for Willie Nile's songwriting and storytelling to shine through.

While my pals who hadn't seen him previously weren't quite salivating with praise, they agreed it was a strong show by an estimable performer, and I believe Nile made fans out of a couple of nearby couples--one from Australia--who had come largely due to affinity for the City Winery venue, but bequeathed a standing ovation when the show ended.

Without being amped up, part of my "Dylan and Springsteen meet the Ramones and Clash" description to them didn't quite ring raucous, but even in pushing 70, Willie Nile well-proved why he remains one of my favorite artists of the 21st century.

And, at least for the time being, content with the present state of rock 'n roll. 

Forever Wild: Happily Paying Homage to Heroes, Willie Nile Has Readily Become One -- Chicago Concert Review

Concert Review

Willie Nile
w/ opening act Nicholas Tremulis
SPACE, Evanston, IL
March 17, 2017
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Chances are, if you're reading this you already know of Willie Nile--whether as a long-time fan of an artist active for decades, someone like me who came to know of him more recently via his friendship with Bruce Springsteen, or because of me, as this is the fifth rave concert review I've written about him since 2011. (I also loved him the first time I saw him in 2009, before I was blogging regularly.)

But if you are a complete Nile neophyte, perhaps the best way I can describe him in shorthand is to note the first songs played Friday night at SPACE in Evanston, IL. (I posted this setlist to Setlist.fm)

Though good, and hailing from 2016's World Wide Willie album, these are neither his best nor most emblematic songs.

But "Forever Wild" sees the rock 'n roll survivor--who was poised to be a "next big thing" after his stellar 1980 debut album but never quite became one--looking back with wistfulness yet ahead with buoyancy.

And "Grandpa Rocks" amply denotes that even as a doting grandfather of four, the 68-year-old Nile--who Uncut Magazine once called "a one-man Clash"--is far from ready to go gently into any night.

Nile is an excellent songwriter who has had a succession of strong albums in recent years--2006's Streets of New York was my starting point and still my favorite--and almost anything he plays live with his crack 4-piece band comes off well.

Particularly so from just a few feet away, as I was in the comfortable quarters of SPACE, where I have seen Nile the last three times.

After the opening two songs, the Buffalo, NY native played "Life on Bleecker Street," reflecting his current Manhattan residence but also--indirectly--celebrating that roadway's importance on arts & music, including venues in Greenwich Village and the former CBGBs club at the center of the New York punk scene.

With Matt Hogan often dazzling on guitar, other Nile originals came off sumptuously, including "The Innocent Ones," "Heaven Help the Lonely" and "Give Me Tomorrow," on which Chicago's Nicholas Tremulis--who had opened the show with a nice hourlong solo set ending with a beautiful cover of John Lennon's "Jealous Guy"--joined Nile's band.

(In years past, I've seen the Nicholas Tremulis Orchestra serve as Nile's backing band, but along with Hogan, bassist Johnny Pisano and a drummer I can't cite beyond a first name of John now seem rather constant as the touring band.)

The Irish-tinged "Beautiful Wreck of the World" was a treat on St. Patrick's Day, and after Willie played the poignant "The Crossing" solo on piano, an extended "Love is a Train" was one of the show's highlights.

Along with the music, it's always fun to hear Willie Nile tell stories about his interactions with more famous friends, admirers and collaborators (without ever feeling like braggadocio or brazen name dropping).

Friday night he mentioned U2 a couple times, and Martin Scorsese.

And he's never shy about paying overt homage to musical heroes--of his, and typically mine, too, though in Nile's case he can call some of them actual friends.

Preceded by saying he was working on an album of Bob Dylan cover songs, first came a rocking version of "Rainy Day Women #12 & 35," which you may recognize more as "everybody must get stoned."

And a few songs later, with Tremulis back onstage, a version of Velvet Underground's "Sweet Jane"--which closes out World War Willie--was a blistering, blissful delight that, stunningly, got even better as it segued into David Bowie's "Heroes."

These tributes to Lou Reed and Bowie nearly made me cry, and I caught much of it on video. (See below.)

After his own anthemic "One Guitar," Nile ended the night with a romp though The Beatles' "A Hard Day's Night."

Though, as usual, I said hello to Willie after the show and had a photo taken, I don't pretend to know him or the psychology that has accompanied his long career.

Back in 1980, Nile was heralded by Pete Townshend and hand-picked to open for The Who, but not only did his career never truly take off, he had long hiatuses between albums and I only learned of him less than 10 years ago.

But though far from the household name of some of his chums and contemporaries, Nile not only still puts on a scintillating rock show, he seems happy to keep doing so as long as he's able whenever a few hundred enthusiastic fans show up, as they did at SPACE.

So while I sometimes wish that this blog could have a greater audience and influence, so that smaller acts I repeatedly rave about--like Willie Nile--might perhaps play, deservedly, to thousands at a time, during Friday's show he spoke of never having much taste or need for fame.

He just seems to love writing and performing his music, unconcerned with the levels of stardom he never attained.

Hence, while I don't expect yet another sparkling Seth Saith review will generate tons of new Willie Nile fans, I enjoyed seeing him once again, and writing about him anew.

That's enough, and even more than enough.

And between his own music and that of hallowed performers we both love, Willie Nile--though small of stature and unlikely to be recognized by much of the public--doesn't just intertwine with some of the all-time greats, for me he rightfully stands among them.

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Willie Nile Blasts Into SPACE, Proceeds to Rocket to the Core -- Chicago Concert Review

Concert Review

Willie Nile
SPACE, Evanston, IL
October 18, 2013
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This is my third @@@@@ Willie Nile concert review in as many years (1, 2). If I was regularly writing this blog in 2009, I would have posted one then too.

For those unfamiliar with the 64-year-old New York rocker, and thus oblivious to the four superb studio albums he has released since 2006--his recording career dates back to 1980, but start with Streets of New York from '06 (though for some reason that one's not on Spotify)--and the stupendously good live shows that feel as if Bruce Springsteen collided with the Ramones, this might sound outlandish, excessive, deranged.

Or as though I were the president of the Willie Nile Fan Club, or perhaps one of his relatives.

I assure you other than a shared love of rock 'n roll--from Buddy Holly to the Beatles & Stones, all of whom he covered on Friday night at SPACE, as well as the Boss, Ramones, Clash and much else--there is no kinship between me and Willie Nile.

And while I have gladly posted his setlists to Setlist.fm on a few occasions and see him every chance I get, I am not in any club. I am simply a fan.

The three previous times I've seen Nile--first at Martyrs' and the next two at Fitzgerald's in Berwyn--he's been backed by Chicago's Nicholas Tremulis Orchestra.

Not only has this saved Willie the expense of bringing a band to town, but it has made for outstanding
shows given the impressive instrumentation of the NTO (basically a large rock band), whose leader has been well-known locally for many years.

This time, Nile came with the bandmates who played on his latest album, American Ride. While this meant no opening set from the NTO--as has been the norm--and a bit less expansive sound, guitarist Matt Hogan, bassist Johnny Pisano and drummer Alex Alexander were terrific in their own right.

Nile opened with a couple new songs, "This is Our Time"--currently the "Coolest Song of the Week" on Little Steven's Underground Garage--and "Life on Bleecker Street," and would spotlight his new record throughout, but he also reached back to the recent and not-so-recent past with gems like "The Innocent Ones," "Heaven Help the Lonely" and a truly resplendent "Love is a Train" that brought him and the band a mid-set standing ovation.

During the main set, he and his band ripped through Buddy Holly's "Not Fade Away," and after having asked if Tremulis was in the house--to no avail at the time--and dedicating "The Crossing" to Nick's recently passed father, Tremulis showed up just before the encores. He joined the band for blistering versions of "A Hard Day's Night" (which I'd never heard covered outside of a Beatles tribute band) and "(I Can't Get No) Satisfaction."

After the show I bought a copy of American Ride and got it signed by Willie, who remembered me as having met and blogged about him before. And I told him that though everything he played sounded fantastic over the course of nearly 2 hours, he left out some of my favorites and easily could have pleased me just as much with an entirely different set.

As always, he was quite gracious, as he was throughout the night from the stage to a nearly full crowd at SPACE, where I  attended for the first time. I found it to be a comfortable venue, with even a general admission ticket affording me a seat just a few feet from the stage.

Willie also shared how his new album is selling gratifyingly well and that he has two more albums worth of material ready to go, but needs to find the money to record them, having utilized crowdsourcing in the past.

Wherever his American Ride continues to take him, I look forward to accompanying his musical journey, which seems to be  flowering more robustly than ever well into his mid-60s.

For not only did he deliver another astonishing show--if there is a more dependable club-level performer, I'm not aware--but if my mere $20 admission fee could anywhere have been better spent, I doubt I could have gotten, as his closing song would suggest, any greater satisfaction on this particular night. Or most others.

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For a taste of Willie Nile live, here's a YouTube clip of him and his current band at a recent show, doing "This is Our Time" and "Life On Bleecker Street."

And for a bit more, these are clips I've shot and shared from shows in years past: "One Guitar," "Run" and "Hard Times in America."