Saturday, November 7, 1998
Georgia Tech's Alexander Memorial Coliseum
Atlanta, Georgia
Let me just start by saying that I never thought I’d get to see Joni Mitchell live in my lifetime. As a twentysomething, I assumed that I had no chance to witness this legendary lady of music. So, when the opportunity arose I jumped at it. I was lucky enough to have gotten 5th row seats for the event, making it even more memorable and special.
But that’s just the beginning. Dana and I took our seats, only to realize that sitting in the row directly behind us was none other than Indigo Girl, Emily Saliers. Those of you who have the Indigo Girls’ "1200 Curfews" may recall that Emily wrote in the liner notes, "Joni Mitchell is my favorite songwriter artist. Sometimes, rarely now, I do a song of hers during our set. I used to play "River" over and over again on my record player." Also seated with Emily was fellow Atlanta singer/songwriter Michelle Malone. Before you ask, Amy was nowhere in site.
Needless to say, I was having heart palpitations over the prospect of sitting between two of my heros: Joni performing in front of me, and Emily sitting behind me. Luckily, the show was on time and I didn’t have to wait long.
Joni came out looking radiant in a green velvet dress. She launched into a joyous version of "Big Yellow Taxi" that had me in tears by the last verse. Not surprisingly, this tune elicited a standing ovation…..I think Emily was the first on her feet. Bear in mind also, that this is the tune that was adopted as the closing number for the first Lilith Fair tour, which Emily took part in. The ironies are mindboggling. It made me respect her all the more to see Emily reduced to an adoring fan.
Well, the tears continued as Joni concentrated on her confessional/romantic numbers. There wasn’t a dry eye in the house as Joni belted out "Just Like This Train" and "Night Ride Home". Joni’s voice is a marvel. It has only grown richer with age. The added maturity in her vocals added a layer of nuance to the songs that can only be truly appreciated live.
From here, Joni masterfully brought to life many classics including "Free Man In Paris" and a gorgeous "Amelia." Joni became more conversational at this point, explaining that being on the road again reminded her just how relevant her "Hejira" numbers really are.
In fact Joni seemed really chatty throughout most of the set. I had anticipated her being less warm….from all the things I’ve read about her over the years. However, it WAS her birthday…so maybe that put her in better spirits than usual. Audience members kept bringing her flowers and gifts throughout the set. She seemed honestly appreciative and thanked the audience repeatedly. Joni made a crack about how people keep bringing up the fact that she’s older than the president, but that he is still frisky.
The only glitch in the night came when Joni was introducing "Magdalene Laundries" and some shmuck yelled for her to shut up. While this clearly rattled Joni, she was able to remain centered enough to realize that this drunk fool was not the voice of the other concert-goers. Instead, she called him a "rude idiot" and proceeded to use him as a running gag, joking that she was going to keep singing just to piss him off.
Another great moment came when she explained the story behind "Happiness Is The Best Face Lift." She talked about how she had just turned 50 and had separated from her lover. She had gone to visit her mother and started an affair (in true Joni fashion) with a man that her mum introduced her to. Joni made her already incredibly personal song seem even more intimate by revealing the emotions and true life experiences that inspired the tune.
She also shared some insight into "Song For Sharon" before performing it. Sharon was a childhood friend who wanted to become a singer. Joni’s dream was to be a painter and marry a farmer. As fate would have it, Joni became the singer and Sharon married a farmer.
Towards the end of the set, Joni put down her guitar and concentrated on the vocals. She really flaunted her amazing vocal prowess during these more jazzy numbers, even doing some impressive scat during Marvin Gaye’s "Trouble Man." Also, her live version of "Nothing Can Be Done" was simply revelatory.
The first encore consisted of "Woodstock," which played well to the nostalgia that many in the Coliseum were feeling. However, Joni pushed the envelope by then treating everyone to the unexpected "Both Sides Now." Before the concert, I had joked that Joni would never be able to get away with singing that song in the jaded and cynical 90s. Boy was I wrong! Her new take on it, with the experience and sadness in her voice made for a devastatingly beautiful moment.
At this emotional highpoint of the show, a cake was brought out and all assembled sang "Happy Birthday" to Joni. She blew out all the candles, and walked off the stage for the final show of the tour with her arms full of gifts and tears in her eyes.
