LaVette leaves Arden patrons wanting

Soul singer Bettye LaVette might be eligible for old age pension, but she is still the hottest act St. Albert’s Arden Theatre had booked this season.

Dubbed the “High Priestess of R&B”, LaVette was the Arden’s season’s closer. And the New Jersey-based singer, who has sung for two American presidents, did not disappoint, spinning a marvellous collection of rock, blues and country into a force that was uniquely her own.

The Grammy Award nominee doesn’t just sing a song. She becomes the song. She is one of those rare performers that completely immerses herself into its meaning. It’s as if she steps into a trance for each number and channels the essence from deep within.

And those raw, throaty pipes are incredible — one moment soft and whispery, leaping into a full-throttle acrobatic gospel belt within a couple of notes. Each line is phrased with a specific inflection and every word is shaded for meaning.

Her stop in St. Albert was part of a promotion for Interpretations: The British Rock Songbook released in 2010. And although the album was centred in rock, each tune was drenched in southern soul, blues, gospel and a tinge of R&B.

Accompanied by a tight, extremely intuitive four-piece band, LaVette kicked off the concert with the John Lennon/Paul McCartney composition The Word, a simmering love song the duo wrote during a pot smoking session.

Also from Interpretations, she wrapped her gravelly vocals around a painful version of George Harrison’s Isn’t It a Pity, a heart-breaking bluesy rendition of Richard Starkey’s (Ringo Starr) It Don’t Come Easy, and Pete Townsend’s poignant Love Reign O’er Me.

LaVette, who broke into the music industry at 16, has been in the business nearly 50 years and her songs rise from a place of maturity, wisdom and experience.

One of the evening’s showpieces was a deeply personal interpretation of Etta James’ Damn Your Eyes. A rollercoaster of moods, Lavette’s tribute to James was an inspired story punctuated with sexiness, anger and the frustrated love of someone unable to forget.

Equally, her version of George Jones’ Choices had a dramatic, theatrical hold on the audience while Lucinda Williams’ Joy was a powerful affirmation of life.

Lavette capped the evening with a stunningly powerful a cappella adaptation of I Do Not Want What I Do Not Have, a thought-provoking closer that left the audience wanting more.

Unfortunately LaVette’s 75-minute concert, shorter than the normal Arden presentation, disappointed some fans. And while she shoehorned 13 tunes into the show, it felt rushed. A good concert, like fine wine, needs to ferment at its own pace and if pushed too quickly, it can sour. LaVette has a phenomenal voice, a charismatic personality and dry wit. How about lingering a tad longer next time?