At 75 years old, this rock legend in leather trousers still boasts a powerful, gravelly, and intriguingly charismatic voice, along with the unmistakable presence of a rock star on stage. There’s a timeless quality to sixties icons like Plant, Jagger, and Stewart (though, of course, there’s only one of him), reminiscent of ancient Greek architecture.
Stage one on Friday night was overflowing, so crowded that there wasn’t room for a single more person. Not that we smoke, of course. Even though it wasn’t the sixties, it felt like we had traveled back to that era in some ways.
Every song felt like an anthem—intense, melodic, and completely engrossing. The newest phase in Plant’s career introduces Saving Grace, featuring Oli Jefferson on percussion, Tony Kelsey on mandolin, baritone, and acoustic guitars, Matt Worley on banjo, acoustic and baritone guitars, and cuatro, along with the extraordinary vocals of Suzi Dian.
Her duets with Plant were sublime, showcasing both powerful hits and delicate close harmonies. Plus, she plays the accordion, adding to the brilliance of the combination. Some of the music features dramatic, climactic moments reminiscent of Fairport Convention, whom Saving Grace has supported.
The festival program described Emmanuel as a child prodigy, noting that he was “tearing it up” on stage at just six years old, until Australian authorities decided he should probably attend school.
Meanwhile, on Stage Two, singer-guitarist Dean Owens and The Sinners were performing. This is a band that makes you grateful to have lived long enough to witness their talent.
The Sinners feature a lineup of double bass, drums, guitar, and a deeply stirring trumpet. Owens, who is partly Italian, has a powerful and melodious voice that elevates the spirit. His performance is both invigorating and soothing, offering a unique blend of inspiration and comfort.
Later, he told the audience, “I thought we’d start with melancholy and work our way to pure misery.” This joke drew laughter, but none of the music was truly miserable. The crowd was dancing, energized by the vibrant and upbeat tunes.
At times, the guitars evoked the sound of The Shadows. Despite the title “Raining in Glasgow,” which might suggest otherwise, the tent was lively and bouncing along.
He also mentioned, “I wrote this song for Willie Nelson”—then added, “He hasn’t heard it yet.” However, we had heard it, and it was fantastic.
