God and His Disciples: Clapton Rises in Orlando
Eric Clapton: October 20, 2006: T.D. Waterhouse Center: Orlando, FL
Quite simply, Eric Clapton is the greatest guitarist of all time. Debates can rage about who falls in line below his rank, but there remains no doubt that Clapton reigns supreme. Friday night in Orlando, the artist formerly known as God proved the point through seventeen extraordinary performances in a set lasting over two hours. Modestly taking the stage with a band that included guitarists Doyle Bramhall II and Derek Trucks, Clapton commenced with “Pretending,” which segued into a vigorous run-through of “I Shot The Sheriff”.
With Trucks seemingly channeling the late Duane Allman, Derek and the Dominos music dominated the night, much to the joy of the riveted audience. The first of those gems, “Got To Get Better In A Little While,” burned for nearly fifteen minutes, allowing for searing solos from Trucks, Bramhall II, and of course, Clapton. Bluesman Robert Cray reprised his original role on “Old Love,” a tumultuous track on Clapton’s 1989 album, Journeyman. “Anyday,” a Derek and the Dominos rarity, simmered through another round of astonishing solos, which was followed by a thrilling take on “Motherless Children,” from Clapton’s solo masterwork, 461 Ocean Boulevard. A short set of mostly acoustic songs included “Key To The Highway,” “San Francisco Bay Blues” (with Clapton amusingly blowing a kazoo), “Nobody Knows You When You’re Down And Out, ” and “Running On Faith”.
“After Midnight” sounded lively and brisk, much to the credit of drummer Steve Jordan, who kept the tempo running hot. “Little Queen Of Spades” exploded into a guitar onslaught that further showcased the exceptional talents of Trucks and Bramhall II. “Further On Up The Road” offered a bit of levity after the intensity of the preceding performance. Beautiful yet brief, “Wonderful Tonight” inspired couples to slow dance in the aisles of the arena. With an anxious crowd now on their feet, “Layla” erupted with the most erotic riff in rock music history. Clapton soared though the epic with as much yearning and drive as he did on the Derek and the Domino’s classic original. “Cocaine,” grittier and heavier than ever, closed out the main set.
As the encore, Clapton brought Robert Cray back for “Crossroads,” the only song of the concert to have been covered by Cream. Alternating vocals and licks, Clapton, Cray, Trucks, and Bramhall II barnstormed through the Robert Johnson staple in what was nothing short of a blues summit. And while stepping aside to yield the stage to the younger guitarists, Clapton did accordingly take his own moments to shine. In those moments, in the last song as much as in the previous sixteen, the music legend unassumingly, yet undeniably, illustrated that he is without peer. No guitarist, now or in times long gone, can or ever did surpass Slowhand.
