How to make a great set list: Bonnie Raitt, the Who and Squeeze share their secrets. ‘It’s not a drag, it’s an honor’

As a seasoned musician who has been gracing stages for decades, I can relate to the challenges and joys of curating a setlist that appeals to both the artist and the audience. It’s like being a chef, balancing the familiar with the exotic, the slow-cooked comfort food with the adventurous, spice-laden dish.

During the midpoint of her latest performance, someone in the crowd called out for “Angel From Montgomery” to be played. This tune, originally by John Prine and covered by Raitt half a century ago, has since become a favorite of hers, which she refers to as being deeply cherished.

Looking over the crowd, Raitt subtly commented, “Now, if I were a gambler…” This statement sparked loud applause. While Raitt doesn’t always stick to playing her hits—she omitted two of her most popular songs like “Love Sneakin’ Up On You” and “Not the Only One”—she can’t imagine a performance without “Angel”.

Raitt remarks that she’s fortunate to have songs so popular that people would get upset if they didn’t listen to them; he doesn’t view this as a burden, but rather as a privilege. And he remains committed and involved with each song.

The term “set list” carries a dual significance: it refers not only to the sequence of tunes performed, but also signifies that for many musicians, this sequence is largely predetermined. While some songs may be swapped in or out, artists typically adhere to what they’ve practiced extensively.

While it’s often assumed that only jam bands like the Allman Brothers Band and Grateful Dead don’t stick to set lists, artists such as Bob Dylan and Bruce Hornsby have been doing so for many years. Bonnie Raitt, who is performing in Southern California from Tuesday to September 17, including a show at the Pacific Amphitheatre in Costa Mesa on the 14th, shares this practice.

Raitt’s band frequently changes instruments and tunings, making it difficult for them to play freely like Dylan. However, she prefers to keep things exciting by occasionally swapping a few songs, sometimes even springing surprises on the band at the last minute or during the performance itself. “I’ll have my guitarist standing there with two guitars, and I’ll indicate which one I want.

Previously, Elvis Costello performed for ten consecutive nights in New York without repeating a single song, playing over 200 different tracks. Squeeze’s Glenn Tilbrook acknowledges this feat with admiration but hasn’t attempted it yet. “That’s truly impressive,” Tilbrook comments, “but our band moves at a more leisurely pace.” Lately, their band performed four shows in Southern California.

Familiarity breeds comfort, which in turn improves performance. When the setlist remains consistent each night, we find ourselves more at ease and our delivery becomes smoother,” he explains.

Still, he thinks about trying what Costello did, telling fans in advance they’re going to experiment with their sets. “But I don’t know how many people would like us to do that and while I’d love to broaden ourselves, at the moment we’re still trying to capture as many people as possible.”

Typically, although some enthusiasts attend concerts in search of lesser-known songs, the majority of fans are there to listen to the popular hits. Nowadays, you can check setlist.fm to find out what’s likely to be played beforehand. The artists need to cater to these contrasting preferences, as well as their own creative inclinations.

Raitt admires her friends Jackson Browne and James Taylor, who often finish their performances with 45 minutes of continuous classics. However, she notes that despite this, they may still leave people wanting more as there isn’t enough time to play all their hits. So, she wonders how The Rolling Stones or Paul McCartney manage to perform extensively.

According to Tilbrook, predicting what everyone desires beyond the most popular tunes can be challenging. “You need to rely on your gut feeling, but we haven’t always been spot-on, and we’ve performed some songs in the past that were awkward and off the mark,” he admits.

In the past, I had a conversation with Roger Daltrey from The Who, and he mentioned that starting each performance with their debut single, “I Can’t Explain,” is a custom they cherish as a band, a tribute to their rich heritage, and a tradition deeply rooted in their history.

During every performance, they were bound to play “Baba O’Riley,” “Won’t Get Fooled Again,” and “Pinball Wizard.” However, Daltrey was always keen on incorporating less popular songs. When I shared my delight over hearing “Slip Kid” and “A Quick One, While He’s Away” during that tour, he elaborated on the challenges of adding such tracks: one hurdle was Pete Townshend’s reluctance to re-learn his old hits, and another was that while a few thousand enthusiasts like myself would jump up excitedly, “most people just headed to the restroom.

Raitt explains that she makes sure her frequently played tunes remain engaging by subtly altering the melodies and guitar solos during performances each night. She might also experiment with more deliberate changes, such as playing “Something to Talk About” with a ska rhythm on one tour. As she notes, “We enjoyed doing it, but I couldn’t gauge the audience’s reaction, and it’s impossible to ask them if they liked it or not.” She believes that while it’s crucial to preserve iconic songs in their original form since concertgoers are paying for the tour experience.

Speaking about his father’s affection for jazz, Tilbrook shares that he has become “more spontaneous vocally than I’ve ever been” with their popular songs. He’s also incorporating the freer and more unconventional guitar playing he enjoyed during his recent solo tour into the band’s music. As he put it, “I’ve never explored that avenue before, but I really enjoy it.” In those solo performances, he experimented with their biggest hit, “Tempted,” and found such success that he suggested to the band, “Let’s try this approach.

Although Squeeze often plays popular tunes, they’ve been exploring deeper into their collection, such as “What Have They Done” from an ’80s British animated movie’s soundtrack. However, Tilbrook is practical about his selections. One less-remembered song he intended to resurrect during this tour was “Rose I Said”, but in the end, he decided against it.

He mentions that the song is quite lengthy and difficult to sing without running out of breath, so they’ve decided to go with “Some Fantastic Place” instead. In simpler terms, he needs more room to sing this new song to avoid collapsing from exhaustion while performing it.

Tilbrook mentions that after attending Radiohead’s performance at Coachella approximately ten years ago and discovering they used pre-recorded material as a “seasoning,” Squeeze has incorporated this technique into roughly half their songs. “This significantly expands the range of options available for our creative process,” he explains.

Raitt carefully selects tunes that resonate with both herself and her band, always keeping in mind the needs of her listeners, ensuring they don’t get lost in a string of unfamiliar tracks.

She acknowledges the number of regular concert attendees she has, she explains. “There are some fans who haven’t seen me perform for two decades, but many have attended my shows in the past couple of years,” she notes. “To keep things fresh, it’s essential to mix up the song list and avoid playing the same songs or wearing the same outfits as the last time I performed in town.

Maintaining a mix of tempo and key changes is essential for a successful performance, according to Daltrey. He avoids singing two songs in the same key consecutively. Similarly, Squeeze has incorporated more slow songs into their repertoire nowadays, but Tilbrook explains it as part of a rhythmic pattern: “We gradually increase tempo from one song to another, then decrease and repeat until we reach a slow pace, and then start again,” he says. “This approach psychologically keeps the audience engaged and I hope the transitions are intriguing.

Raitt also mentions the concept of “establishing a rhythm and then increasing it,” pointing out that performing at an outdoor festival under the sun calls for more lively tracks. She expresses her fondness for playing in a theater where the audience is seated, as it allows her to become quieter, more introspective, and emotionally deeper for extended periods. For her, it feels like a sacred environment where she can achieve a harmonious connection with the audience through shared vibes.

Typically, she incorporates several tracks from her recent album that resonate with her audience, dedicating a segment for blues and folk tunes. However, she cautiously mentions she won’t place that part too early in the setlist. She is particularly mindful about spacing out her ballads such as “Angel” and “I Can’t Make You Love Me.

“I don’t play too many sad songs in a row,” she explains. “It just bums people out, including me.”

In other words, some of her preferred ballads such as “Going Wild for You Baby” and “The Bed I Made” won’t be included since their popularity is not high enough to outrank the more popular songs.

Raitt’s most popular hit, “Something to Talk About,” is more upbeat compared to many of her other tracks, but fans adore it and consider it a refreshing change, a breath of fresh air between the rest. Therefore, playing a tune that spreads happiness makes me content.

Additionally, she often concludes her performance with an uplifting note, typically by covering well-known songs such as B.B. King’s “Never Make Your Move Too Soon” or Talking Heads’ “Burning Down the House.

Instead of saying “I can’t play ‘Dimming of the Day’ and then say, ‘See you later,'” she opts for a more energetic ending, explaining, “Rather than slowing things down with ‘Dimming of the Day’, I want to send everyone off with something lively.

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2024-09-10 13:31