Growing old gracefully doesn't appear to be a problem for Joan Baez. She strolled onto the stage in a long black velvet dress, looking more like a classical musician than a folk singer. Depending on which side of the fence one sits, however, Baez was always more than just a folk singer: 30 years ago she stood for something in a very defined political and social way.
These days, politics might have taken a back seat - at least in the eyes of the public - but the societal concerns are still apparent. Mostly cover versions, songs of child abuse, racism, and single-parent deprivation (respectively, Crack In The Mirror, Fishing, and Money For Floods - all taken from her fine new album, Gone From Danger) are mixed in with her more standard covers material: John Prine's Hello In There, Leonard Cohen's Suzanne, and Paul Simon's The Boxer. The best song of the night, though, came courtesy of backing musician (and writer of Crack In The Mirror) Betty Elders, whose Daddy's Coal was the best example of focused, homespun reminiscence I've heard in a long time.
