Commentary: Music, not clothes & choreography, makes the man on Prince tour
Alan Leeds
Special to the Star Tribune

Published Mar 10, 2002
Editor's note: The author, a Twin Cities-based talent manager and Grammy-winning music historian, worked for Prince from 1983 to '92.

If you are a Prince fan dating back to the days before he was a slave or a symbol, run (fly if you have to) to one of the theaters on his current tour.

{{{For those of us convinced that time and misdirection had hopelessly robbed Prince of his potential to grow older with us, the new Rainbow Children Tour -- on display last weekend in Chicago, the second city on the brief tour -- is not just a rebirth but a complete revelation.}}}

Sure, there's more proselytizing than most of us would like, and sure, a few of his references to the scriptures, sexism and race could be confusing out of context, but they were hardly invasive. Real music is back -- and so is Prince.

That means a sophisticated stage set that subtly incorporates three video screens, classy lights, a grown-up's wardrobe (he actually wore a suit and tie most of the time), and, most importantly, a rompin,' stompin' band that can hang with the best of past Prince units.

Always as tight as a stripper's thong, the greatest Prince bands usually included at least one stellar soloist to share the spotlight, but recent Prince shows sometimes jammed aimlessly as less interesting players soloed too long and too often. However, his new sextet neatly showcases both legendary saxophonist Maceo Parker and extraordinary Brazilian keyboardist Renato Neto.

The band is really what this tour is about. Prince is the unequivocal leader, but he clearly views himself as a member of the ensemble. The jazz-inspired arrangements highlight levels of interplay only hinted at in previous incarnations of the same songs. Shelving his trademark choreography and often distracting garb, he was telling us to expect an adult Prince show for adult fans. But it didn't end there.

Sensitive to fans who might expect the usual Prince circus and greatest-hits medley, his conversation and the show's pacing went a long way toward convincing the crowd that there are more reasons to jump up and party than gaping at a star dry-humping the stage. It once seemed that Prince was afraid to rely on music alone to rev up a crowd. This time, he boldly takes the plunge and depends on the music.

Prince seemed prepared for the skeptics. After a long, exciting fusion jam, he confronted a woman in the front rows. "Oh, so you just wanna hear 'Kiss,' huh? Bored?"

Then Prince coyly asked her, "Is that your husband? Boyfriend? Well, bring him up here. I mean it. You two get up here. Because you're gonna wanna dance to this one."

He counted off "Mellow," a bluesy mid-tempo jam from "Rainbow Children," his latest CD, and sure enough, the couple spent most of the song dancing on stage to the joy of the rest of the audience.

This is Radio Prince

The show is a savvy potpourri of "Rainbow Children," clever covers such as a moving take on Joni Mitchell's "A Case of You" and choice, seldom-performed nuggets from his archive. Highlights were in abundance: "Mellow," "Strange Relationship," Parker's revival of the JB's classic "Pass the Peas," the gorgeous "Anna Stesia" and a show-stopping ballad, "I Love You But I Don't Trust You."

As if to reclaim it from Alicia Keys' hugely successful album, "How Come You Don't Call Me Anymore" blossomed from Prince's standard solo-piano medley treatment into a full-blown band arrangement.

One fun segment was a Prince dissertation on the sorry state of radio. His radio station, if there were one, he explained, would air such songs as Sly Stone's "Sing a Simple Song," the Delfonics' stunning "La La Means I Love You" and Erykah Badu's "Didn't You Know," which was the night's only clinker.

All in all, the evening struck me as a better-rehearsed, focused and polished version of one of Prince's fabled after-shows. Unlike some of his meandering late-night sessions, no jam went on too long, and none of the many solos were filler. The musical palette was powerfully dense when appropriate but breathed intelligently at other times. Although spending much of the night behind keyboards, Prince was vital and funky as ever on guitar.

Prince last toured with a career retrospective show. With its autopilot hits medleys, quasi-dated arrangements and derivative new material, it seemed then that he was destined for Las Vegas.

Perish the thought.

This grown-up Prince obviously has more stories to tell and more rivers to cross. Like Muhammad Ali's triumph over George Foreman to recapture his championship, Prince's return to the musical forefront is both a surprise and a cause for celebration.

IF YOU GO
Prince on tour

Upcoming shows include Cleveland tonight, Indianapolis on Monday, Baltimore on March 25, Pittsburgh on March 26 and Washington, D.C., March 28 and 30.

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© Copyright 2002 Star Tribune. All rights reserved.

[Thanks to all that sent this in. -Ben]

He better bring this tour to Australia, damn it.

No one can rock da house like Prince. I took a friend 2 a show in '98 an he is a real music buff and he said it was the best concert he had ever seen. Prince is such an underrated artist. The world should take notice, Prince is second 2 none.

IS HE COMING TO THE TWIN CITIES!!!!!