Franklin reiterated her admiration for Mr. Obama during Friday night's concert at the Hollywood Bowl -- even trotting out a sequined version of “The Hat" for her finale -- and added another shade to it, one that was typically insightful about the needs of a womans body and soul.
She altered the words to the show tune As If We Never Said Goodbye (an Obama favorite) to pay tribute to the world leader, singing, Barack, youre teaching some of the world a new way to dream. Then, jokingly engaging in a bit of heavy breathing, she said, Brother is fine. But he is married. I understand that ... and bound to marriage vows.
Franklin comically imagined an encounter with the gorgeous Michelle Obama, in which she offered her love and respect to the first lady, but ended with Wheres Barack?
In a night that had perfunctory moments and glorious ones, filled with soul hits, kitchen-table blues, rousing gospel and earthy shtick, Franklins words for Obama emanated love and understanding. This was the Aretha the world treasures. She is still able to uplift the spirit of everyone in an amphitheater with a sublime vocal run, but shes equally interested in expressing human-scale desires and foibles.
This was Franklins first Hollywood Bowl concert in 35 years, and Franklin made sure to please fans whove been with her all the way with plenty of oldies (a bravura I Never Loved a Man, a less-than-strong Chain of Fools), torchy turns, church blessings and self-deprecating jokes.
Did I dare to wear my tightest gown tonight? she said, showing off the second of two outfits, a figure-hugging black sequined fishtail gown highlighted by a white fur coat. (The first ensemble was yellow, with a train, appliqud flowers and fur cuffs.) Can I get an Amen?" Can I get a Boom Chakalaka Boom'?" Franklins humor and warmth made the show feel intimate, despite its sometimes distracting glitz. Midset, a Brazilian-style dance troupe took over (presumably to allow for that costume change); what samba has to do with Ms. Franklins music isnt clear, but audience members gamely engaged with the befeathered showgirls scattered among them.
Everyone was there for one reason, though: to hear Franklin sing. Her voice is one of pops wonders, and though its no longer the astonishing instrument it was in yer youth, it is still worthy of veneration.
Barn-stormers such as Respect gave Franklin some trouble. She just cant punch out those phrases as she could in her prime. At times, her voice was subsumed by the huge wave of music generated by the full band, orchestra and legion of back-up singers behind her.
Franklins longtime musical director, H.B. Barnum, ably kept the troops in line and jumping, and a few players stood out, notably Franklins son, Teddy Richards White, on guitar. The most exciting instrumental sound, however, was Franklins own piano playing, featured on a swinging new song, I Adore You, which she said would be on an album to be released in September.
Franklin relied on the 40-plus musicians onstage with her, not to mention those dancers and a full choir that emerged for a song near the end; their busy presence frequently gave her room to step back and breathe. She recovered by returning to the vernacular forms that underpin her great pop hits. Today I Sing The Blues, which she first released in 1961, was even richer now, after 40-plus years. Taking the song from smoky blues to pleading gospel, Franklin inspired many audience members to raise their hands in blessing.
Further sanctification occurred with Old Landmark, a gospel shouter that allowed Franklin to show her full powers of spirit-touched improvisation. She connected the song to the civil rights movement by preceding it with a shout-out to Rev. Jesse Jackson, one of several prominent African Americans in her audience. (Others included Billy Dee Williams, Angela Bassett and Halle Berry, who actually came onstage during the encore and knelt at Franklins feet.)
