There are many types of concerts and music, but regardless of the style, theatrics or production at its core, it is simple. Most songs start with a guitar (or other instrument) and some ideas. When strip music down to its core, when done right, it’s something remarkable. For nearly three hours on July 24th at the Jack Singer Concert Hall, Chris Cornell displayed an artistry and love of music that, if captured in another form, would grace museums and art galleries for centuries.
Armed with 3 decades of material from his various bands – Soundgarden, Audioslave, Temple of the Dog – 4 solo albums, multiple soundtrack songs and some covers thrown in for good measure, Cornell took songs ranging from massive arena anthems to other artists pop songs and weaved a richness into them that was breathtaking despite its simplicity. Most of the show was just Cornell, a guitar, and a voice. At times multi-instrumentalist Bryan Gibson joined him onstage to play keyboards, cello or mandolin. For one of the fathers of the 90’s grunge movement, seeing Cornell and hearing his songs in this manner was different, and so good.
Cornell walked on stage to cheers, which he encouraged before kicking off the show with Before We Disappear and Can’t Change Me. The recently turned 52 years old was chatty between songs, commenting early on that he had "no focus tonight" and going off on some amusing and random tangents, including giving the advice to not use prostitutes, just jerk off. It was a ride for the audience, from laughter to respectful silence (usually.... Some people hit the bar to frequently and would yell out at the wrong times or talk during songs.) An early cover of Prince’s Nothing Compares 2 U as the stage was bathed in purple light was another highlight.
Sometimes an artist performing a number of covers doesn’t work. Cornell’s take on Bob Dylan’s The Times They Are A-Changin' complete with harmonica and Led Zepplin’s Thank You were highlights. Cornell’s version of Michael Jackson’s Billie Jean was released in 2006 and is even better live. For me personally, one of the highlights was the main set ending One which put the lyrics of Metallica’s version over the melody of U2’s version. It shouldn’t work. It should be weird. Yet it did, and was brilliant.
Of course Cornell’s back catalogue was well represented as well. His strongest instrument has always been his voice, which is instantly recognizable and remained powerful as he belted out fan favourites like Audioslaves’ I Am The Highway & Like A Stone, Temple of the Dog’s All Night Thing and Soundgarden’s Rusty Cage and Fell On Black Days all shone in their acoustic form. The addition of the cello to Blackhole Sun added another layer to the classic song.
It was a master class on how to put on a concert. No extensive gimmicks, just a guy, a guitar, and a voice. For two hours and 45 minutes Chris Cornell showed why he has been a staple of rock music for years. Musical perfection is something that is rare to achieve, yet for those lucky enough to be there, it’s what we got. He is the definition of an artist, and the kind of performer that despite consistent radio play truly has to be seen to be appreciated.
