When fans began filing into the Stifel Theatre for the second night of Paul Simon’s St. Louis stop of the “A Quiet Celebration Tour,” they knew they weren’t attending a typical concert. They were bearing witness to what could best be described as a miracle.
After announcing his retirement from touring in 2018 and speaking candidly in 2023 about the near-complete loss of hearing in his left ear, Simon sought assistance from researchers at Stanford University’s Initiative to Cure Hearing Loss program. Their collaboration yielded a path forward for Simon’s return to the concert stage, albeit with some slight adjustments: concert halls with optimal acoustics, carefully arranged stage monitors, and a curated setlist that took his hearing loss into consideration.
Living up to the name of the tour, Simon and his ten-piece band were subdued, but they were also never lacking in emotional power and technical prowess. Indeed, though Simon lacks the range and control he had as a younger man, that limitation only served to support the themes of loneliness, joy, and sorrow that have been hallmarks of his sublime work as a songwriter for decades. Nowhere was this more present than in the first half of the show which focused on his latest album, the masterful Seven Psalms. A 33-minute song-cycle in seven movements meant to be heard and performed as one piece of music, Seven Psalms is a haunting rumination on the process of dying and the everlasting importance of love. When my mother passed away in the summer of 2023, this album became a lifeline and a source of comfort for me, as I suspect it did for many others. Though Simon has written some of the best songs in pop history, we’ve always come to him for more than that. Those beautiful melodies are the shine on those meaningful gems of wisdom that are always present in his lyrics. What I found almost as wonderful as the music coming from the stage was the quiet of the crowd, clearly captivated by the performance and allowing it to envelop them entirely. From the opening bells of “The Lord” to the bluesy and witty “My Professional Opinion,” the live versions of the songs surpassed the recorded versions, mainly because the more subtle instrumental aspects of the arrangements were able to step forward into the light. Speaking of light, a highlight of the evening came when singer-songwriter Edie Brickell, who also happens to be Simon’s wife, elevated the songs “The Sacred Harp” and “Wait” with her beautifully clear and whispery alto.
After a brief intermission, Simon and his band returned to play a second set of hits and deep cuts, such as his meditation on gun violence “The Late Great Johnny Ace” (from 1983’s Hearts and Bones), “Mother and Child Reunion” (from 1972’s self-titled Paul Simon), and “Rewrite” (from 2011’s So Beautiful or So What) which made its tour debut that evening. Brickell returned for Graceland’s “Under African Skies,” beautifully interpreting the vocal originally performed on the recording by Linda Ronstandt. Simon stated that his current and longtime bassist Bakithi Kumalo, who began working with Simon on the Graceland album, is the last living member of the Graceland band. Also on this tour is drummer Steve Gadd whose drum part for “50 Ways to Leave Your Lover” is one of the most recognizable pieces on the planet and it was such a pleasure to hear him play it live. Kumalo and Gadd are a formidable rhythm section, and neither one has lost a step.
Simon and Garfunkel were represented in two of the encore songs, “The Boxer,” and of course, “The Sound of Silence.” The audience singing along to the “Lie La Lie’s” in the former felt like an ebullient purging of every ounce of stress and negativity we’ve experienced in the past few months, while Simon’s solo performance of the latter was like a warm embrace from a long-time friend.
And why shouldn’t it feel like that? Fans of Paul Simon’s work didn’t just show up to hear him perform selections from his timeless repertoire of music. They came to see the guy whose music with Art Garfunkel came through the transistor radio in the kitchen or on the AM radio in the car during the best of times. They came to see the young man who wanted to be a baseball player but ended up becoming the soundtrack to an entire generation. And ultimately, they came to visit that very same long-time friend who they thought they’d never have the chance to share a song with again. There’s a kind of magic to that, and it’s a kind of magic that can only come from an American master who continues to define the art of live performance, obstacles be damned. | Jim Ousley
Paul Simon is a great person, songwriter and singer. Yes, he doesn’t sing like he used to, so we can forgive him for that. But the concert was not what I was hoping for. The begining 33 minute set was a too unusual for me. Most of the songs in the second set were not his hits, but his misses. Paul gave the audience what he wanted to give, not what the audience wanted to hear. I was just so disappointed in the event, when it could have been one of the best concerts I ever attended. It left me hollow, not fulfilled.
Disappointed? Misses? Really?? Going into the concert, you knew you were going to hear “Seven Psalms” in its entirety, so why were you surprised? As for the second half… Paul Simon doesn’t have any misses. From reading this review, I flipped knowing Paul’s performing “The Late Great Johnny Ace” and “Rewrite”. Edie Brickell singing “Under African Skies”? Wow!
Your review is so beautifully written, and expresses my feelings about Paul’s music so well! I am seeing the concert tonight in Chicago. Thrilled to hear Seven Psalms performed live, and be a part of this Quiet Celebration. I never thought I’d get to see him live again! What an opportunity!