Really would mind if I sat this one out. With those words (or perhaps it was the correct lyrics) from the concert’s opening song, “Thick as a Brick,” so began an evening with Jethro Tull on their Aqualung 40th Anniversary tour which played at Comerica Theater in Phoenix on Friday night. Gauging from the grey hair, canes and waist lines found in the audience (I’m surprised there was no AARP discount), ninety five percent of them were teenagers when Aqualung was released back in 1971. However, the nearly sold out audience appreciated Jethro Tull’s indulgence of them living in the past.
Led by flautist/acoustic guitarist/lead vocalist/showman/jester Ian Anderson, Jethro Tull delivered a tight, two hour with intermission, set. True to their promise, Jethro Tull did play all the songs off the Aqualung album, just not in order. There were the acoustic couplings of “Cheap Day Returns," “Mother Goose,” and Wond’ring Aloud” and the expected back to back renditions of “My God,” and “Hymn 43.” However, “Cross Eyed Mary,” closed the first set while the band rocked the audience back to life opening the second set with “Aqualung.” The encore, as is standard In Tull shows, closed the night with “Locomotive Breath,” with some snippets of “Teacher” thrown in for good measure.
Although Jethro Tull is a band, it is Ian Anderson that is Jethro Tull. He runs the show and runs in the show, both on his flute and across the stage. Still present is his amazing at any age, trademark ability to attack the flute while standing on one foot. His energy is contagious. Anderson’s band mates, most notably long time Jethro Tull member and underrated guitarist Martin Barre and keyboardist John O’Hara picked up on the vibe bringing forth outstanding efforts. For a folk-rock band, or is that prog-rock band, Jethro Tull proved that being nominated for a Best Hard Rock/Metal Grammy was not that far-fetched.
At times, the Scottish born Anderson made you think you were just watching a bunch of talented lads at the local pub with his charming and self-depreciating banter. But then you are treated to a showstopper (literally as it turned out) such as “Budapest,” from 1987’s Crest of a Knave, which highlights each band member’s abilities and you wonder if the stage is big enough to contain them.
With this Jethro Tull show, you didn’t get a big fancy lightshow, or pyrotechnics or scantily clad backup singers. What you did get was an energetic, highly competent, enjoyable evening. No frills but plenty of trills.
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