More than four decades into an astounding career, Neil Young still sticks to his counter-cultural guns.
Love and only love will endure, the Canadian elder statesman insisted on the opening salvo of his tour de force performance Friday at the destined-for-demolition Wachovia Spectrum.
Two hours later, he blew unsuspecting minds with the Beatles A Day In the Life, relishing the opportunity to unleash a squall of feedback at the songs close, and also the chance to give voice to John Lennons fondest wish: Id love to turn you on.
In between, Young sat at the pump organ and decried the despoiling of the environment in Mother Earth (Natural Anthem), and advised all that there is a long highway in your mind, a spirit road that you must find, in Spirit Road, from last years Chrome Dreams II. And in Cortez the Killer, his guitar eloquently wept for the destruction of an idealized Aztec civilization by imperialist colonizers.
But if the 63-year-old Young, who sported gray sideburns and a growing bald patch that was visible when he bent down to rip into another fiery solo, is an unrepentant hippie, he's always been an irascible one.
His career-spanning set included songs of almost beatific calm and childlike beauty, such as The Needle and the Damage Done, and Old Man, layered with meaning 36 years after it was written, and highlighted by a banjo cameo by guitar tech Larry Cragg.
And Light A Candle, one of four new songs performed in the second half of the evening, when a greatest hits parade /turned/ into something altogether more strange, was a hopeful prayer of a ballad: Instead of cursing the darkness, light a candle for where we're going.
But the show was dominated by epic guitar jams of unrestrained fury, with Young backed by his Electric Band, featuring his wife, Pegi, on vocals, drummer Chad Cromwell, bass player Rick Rosas, Anthony Crawford on keyboards and vocals, and the great Ben Keith on guitar and lap steel (most delectably on Heart of Gold).
With the exception of Like a Hurricane and Down By the River, all of the stone-cold classics were present, including Hey Hey, My My (Into the Black), Powderfinger, Cinnamon Girl, and Cowgirl in the Sand, which gave way to the fist-pumping catharsis of Rockin' In the Free World.
Young, who wore a paint-splattered, oversized black jacket and jeans to go with his peace sign-decorated guitar strap, got slightly cranky when the raucous crowd wouldn't shut up during his band intros. Give me a break! Im trying to introduce my friends, he said.
And his new songs werent merely optimistic: You can sing about change, he warned in one. But just singin' a song won't change the world. I think they're going to blow this place up as soon as were done, Young said of the Spectrum, which is set for demolition next year, and, true to its reputation, felt winningly cramped and intimate compared with the Wachovia Center across the street.
He didn't, however, indulge in any nostalgia for the arena, in which he first played with Crosby, Stills, Nash & Young in 1970. Instead, Young did what he always does: flung himself headlong into the music, and the moment, while delivering one more momentous night to remember.
Young's cathartic set was preceded by a excellent one-hour warmup from Wilco, the six-man Chicago band fronted by raspy voiced Jeff Tweedy.
Inventive guitarist Nels Cline was the standout in a set that blended roots-rock earnestness with bursts of experimental noise in songs like "Spiders (Kidsmoke) and Impossible Germany that opened up into extended jams and set the table nicely for the blowout to come.