nathaniel rateliff tour review

Live Review: Ever the Showman, Nathaniel Rateliff Showcases Exactly What Music Is Capable Of

On a cold Tuesday in Halifax, Nova Scotia, Nathaniel Rateliff & the Night Sweats filled a crowd with hope again.

“still out there running” – nathaniel rateliff.

F ebruary was a tough ol’ month.

Not just for the obvious reasons: Dark evenings, snowy days, and endless grey. Last week I was laid off, joining my partner and a sea of other journalists on the scrapheap of great writers without a home to write. It’s a brutal, humiliating, rejecting feeling to be laid off, and I wouldn’t wish it on anyway. Nor would I wish this job market on them either. With the red tape of government benefits still firmly wrapped around my head, I took to bed to mope and whine.

It was under this pitiful condition that I remembered the City and Colour concert, which I’d secured press passes to weeks before my descent into this pathetic stupor. I was not in the mood to party. Or dance. Or sing. Or be upright. But, as the consummate professional I am, I peeled myself out of bed, put on my pearl headband and the matching earrings, along with my sequined black and gold pants (obviously along with the matching top) and headed down to the Scotiabank Centre.

Opener — and rising star — Ruby Waters showcased why 2024 may be her year, as the huge stage and building audience fueled her, rather than filled her with fear. With flowing songs and open heart, she certainly made herself a rink full of new fans. When I saw her last summer at Sommo Fest she was great, but this tour has seen her reach a new, exciting level.

At the other end of the career arc, City and Colour ‘s Dallas Green did everything wanted of an artist with nothing left to prove. Playing hits from all over his career — including crowd delighting Alexisonfire covers — he knew what was expected of him and delivered. It was the last night of a successful tour, and Green seemed to cut loose and just be himself, a fun sight for any fan.

Wedged between these two acts however, Nathaniel Rateliff reminded me what was important.

Donning denim and leather, a guitar and dance moves that brought Little Richard to mind, he dominated the stage. His confidence and swagger were the only things in the building bigger than his booming voice. The Night Sweats – an organ player, three horn players, a drummer, guitarist and bassist – were electric, giving Rateliff the background needed to truly showcase himself.

For a person in a self-pitying mood, the setlist felt perfectly designed to smash my doldrums.

Hitting every high point of the Night Sweats’ three album run — “I Need Never Get Old,” “Survivor,” and of course “Son of a Bitch” were particular highlights — guaranteed a steady stream of dancing and swaying. All eyes were on Rateliff and he relished, speeding up and slowing down, dancing and sitting, soloing and go silent at the exact time necessary. It was a masterclass in showmanship.

If this had been the whole show, I’d have returned to my wound-licking hovel happy. But two songs in particular served as a slap to the chops: “Wasting Time” and “Hey Mama.” With their powerful messages and lack of respect for feeling sorry for ourselves, it was a much needed tonic:

You ain’t gone far enough to say “At least I tried” You ain’t worked hard enough to say “Well I’ve done mine” You ain’t run far enough to say “My legs have failed” You ain’t gone far enough You ain’t worked hard enough You ain’t run far enough to say “It ain’t gonna get any better”

It wasn’t the first time since I was laid off that I had cried, but it was the first time I felt hope, snapped back to reality.

I still had a supportive partner, a great apartment, and a playful cat who was loving having me home all the time. I was fine. By the time Rateliff played his solo hit “And It’s Still Alright,” I felt like he was talking to me: If he could bury friends and move on, I could pick myself up from this minor setback. I was crying again. This is what music does at its best — and this was music at its best.

I’m still mad and hurt, as well as scared for the future. Music can’t heal every wound — but it can make you feel a lot better and add a ton of perspective in the process.

So by the time Rateliff took his final bow and stopped singing to me — yes , I had been wallowing long enough to believe that everything was happening to me — I knew it’d all be alright. Different, worrying, and probably messy, but still alright.

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Live Review: Nathaniel Rateliff & the Night Sweats w/ Hiss Golden Messenger @ The Anthem — 10/17/22

Nathaniel Rateliff leads a the Night Sweats in a performance at The Anthem on Oct. 17, 2022. (Photo by Casey Vock)

As treacherous as they might be, the unique challenges musicians face on the road today can’t keep the most sturdy and strong-willed artists off the stage.

Rebounding from a COVID-caused cancellation of their show scheduled back on Sept. 21, Nathaniel Rateliff & The Night Sweats filled The Anthem in DC on Oct. 17 in an anticipated redemption for the many ticketholders in the DMV and beyond who’d been looking forward to an evening with this good-natured and enduring singer-songwriter and his squad of tireless, merry musicians.

More than just a night of atonement, this electrifying and exhilarating group — formed by Rateliff in 2013 as an R&B side project and now one of the most acclaimed acts in live music — would host an unforgettable night of song and celebration in the capital’s most cutting-edge venue, led by one of the most winsome and enduring singer-songwriters in Mr. Rateliff himself.

And even the canceled show last month couldn’t have detracted from the momentum this band had coming out of the summer, including a high-profile appearance at the Newport Folk Festival where they presented a special set called American Tune Revue to honor the music of the great Paul Simon. Simon would eventually join them on stage — another incredible achievement for this group that has its roots in Denver, where Rateliff formed several different outfits before this one took off in the summer of 2015 following its first self-titled release.

Only growing in popularity, playing festival after festival and forming a large network of friends along the way, Rateliff and his mates evolved from being staples of the Denver and Boulder music scene to an internationally known act with a reputation for blowing the roof off any venue they play, characterized by high energy, a sassy three-piece brass section and Rateliff’s fervor and honesty at the mic.

Riding the momentum of the band’s 2021 album The Future, as well as the acclaim of Nate’s 2020 solo album And It’s Still Alright , Rateliff and the Night Sweats certainly needed to reacquaint a DMV audience it hadn’t seen in a few years due to earlier shows cancelations during the pandemic.

Listen to Nathaniel Rateliff & The Night Sweat’s 2020 studio album, The Future, via Spotify:

“But COVID be damned,” Rateliff told a packed and spirited Anthem on a Monday night as he fronted what was a terrific performance by a squad that continues its ascension as one of the most loved and played bands in America.

Making the night that much more rewarding, the opening act wasn’t just any group, but one Rateliff and his mates consider close and longtime friends in Hiss Golden Messenger. The Durham-based folk-rock project of MC Taylor, who’s considered one of the most thoughtful and influential songwriters of the last decade, this group has recently headlined local venues and local festivals as well , and the group’s opening set made for a night plentiful in distinct, compelling songs.

Stream Hiss Golden Messenger’s 2021 studio album, Quietly Blowing It, via Spotify:

Nathaniel Rateliff & the Night Sweats Setlist

I’ve Been Failing Look It Here You Worry Me I’ll Be Damned Survivor Baby I Lost My Way (But I’m Going Home) So Put Out Oh, I Wasting Time A Little Honey Love Me Till I’m Gone Horn section jam Face Down In The Moment And It’s Still Alright (Nathaniel Rateliff song) The Future Hey Mama Out on the Weekend Coolin’ Out Intro I Need Never Get Old

Encore Suffer Me S.O.B. Love Don’t

Hiss Golden Messenger Setlist

Rock Holy (Unknown) I’ve Got a Name For the Newborn Child (Unknown) Saturday’s Song Lost Out In The Darkness Domino Bright Direction (You’re A Dark Star Now)

Here are images of Nathaniel Rateliff & the Night Sweats and Hiss Golden Messenger performing at The Anthem in DC on the night of Oct. 17, 2022. All photos copyright and courtesy of Casey Vock.

Nathaniel Rateliff & the Night Sweats

Hiss Golden Messenger

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Review - Nathaniel Rateliff @ the Orpheum Theatre (11/15/23)

It seems almost nonsensical to say that Nathaniel Rateliff and his 10-piece band brought an intimate performance to San Francisco’s Orpheum Theatre on Wednesday night, but that is exactly what the passionate audience received. His “And It’s Still Alright Tour” focused on Rateliff’s more sensitive solo material, rather than his high energy work with “The Night Sweats” that made him a household name. The tour that began before Covid in 2020 and was interrupted by a full band tour - was finally approaching its finish. “It took us four years to bring you this show,” Rateliff told the audience.

“For those of you who are surprised by the songs in this setlist and didn’t read the very large print about this tour, I’m sorry.” Indeed, the only Night Sweats song to show up Wednesday was “Still Out There Running.” “We never play it with the Night Sweats because it feels like it’s gonna take the steam out of the show.” Indeed, the show didn’t have a steam engine locomotive pace he’s known for. Rather, it felt like a lovely Sunday drive through the redwoods and along the Pacific coast. The songs found their power in Rateliff’s clear voice bringing home all their emotions, the elevating harmonies of his terrific backing band and the added depth of well-timed inclusions of the 4-person strings section.

“Tonight #2” saw a darkened start to the concert with Rateliff and his acoustic guitar illuminated by barely a candle’s worth of light as his haunting vocals filled the packed theater before the string section kicked in and the supporting musicians layered in their backing vocals. The lights came up brighter and the full band kicked in for “All of Nothing.” “Expecting to Lose” found a fun groove – the song’s vibe had it stagger down the street like a happy drunk walking home after closing time.

“Shroud” was delivered as the night’s first big rocker – supported by red lighting and keeping a skip pace with interludes of Rateliff and his beautiful harmonizers interspersing lines like “I’ve got no feeling about it at all” stretched out gracefully. Rateliff’s two drummer support was crucial in this song, driving the pace forward and adding layers to the rhythm. The string accompaniment of “Something Beautiful” was spectacular as the song was elevated from a piano-focused fun, frustrated love song to a symphonic expression of its possibilities.

“You Need Me” was highlighted by lighting that was reminiscent of the late 60’s – early 70’s American Bandstand with the lyric “It’s like you’re telling me now in the middle of the shit “I need you”” sung so sweetly. “What a Drag” took the crowd into a Phil Specter-like mixing with Laurel Canyon guitar sounds. After playing the lone Night Sweats’ entry of “Still Out There Running,” Rateliff stripped the sound way down with just his guitar to open “I Am,” before he was slowly joined by keyboards, and the two drummers to bring the song to a powerful end.

“These songs were huge in Germany and the Netherlands and then no one cared about them,” Rateliff joked. “But I’m excited to share them with you tonight.” With that, he launched into “Boil & Fight” off 2010’s In Memory of Loss . He was supported by beautiful slide guitar throughout the song. Rateliff dedicated “You Should’ve Seen the Other Guy” to his bootlegging great grandfather and then went into the tender “Early Spring Till” delivered with acoustic guitar and piano accompaniment and sung with a wounded howl. Indeed, Rateliff’s solo songs are deeply personal and often at least semi-autobiographical of a long, not easy journey with loss and pain dotting his path.

On the other hand, “Kissing Our Friends” was presented as a sweet take on being lonely before a gorgeous version of “Oil & Lavender” gave another opportunity for the string section to add deep emotion to a song. Rateliff delivered the song at a crawl, plucking every feather of emotion as the strings filled the nearly century-old theater (1926).

“Putting (“And It’s Still Alright”) out in 2020 was my way of figuring out how to deal with loss.” The album’s title track was accompanied by images of a psychedelic drive through a forest. “This” came forth with a spooky 1930’s style haunting song with a tango pace and vibe. Opener Kevin Morby joined Rateliff and his band for a cover of Leonard Cohen’s “There is a War” (more about Morby in a moment). Rateliff closed the set with a sparse, acoustic “Still Trying” (with its anchor lyric of “I don’t know a goddamn thing”) and a big, powerful version of “Time Stands.” Returning for the encore, Rateliff encouraged the crowd to stand and the entire audience rose for “Redemption” and its elevating chorus of “Just set me Free” followed by the closing “Mavis.”

Kevin Morby served as the perfect opener for this tour of Rateliff –  provided a transcendent mixture of energy and haunting vocals. It was at least the second time through the Bay Area this year for the prolific Kansas City songwriter who was last seen around here up on Mount Tam for Sound Summit . Morby made multiple mentions of San Francisco and seemed generally thrilled to be back in The City. He dedicated “City Music” to San Francisco and included multiple regional references within Wednesday night’s version.

Delivering songs as a trio with a fellow guitarist and drummer, Morby’s version of “This is a Photograph” – the title track off his 2022 album – with terrific energy and set the crowd abuzz. He followed with an almost spoken word version of “Five Easy Pieces” before sitting at the piano for “Destroyer” and then delivering “Rock Bottom” as he aggressively played his guitar. He finished with a sweet and slow version of “Beautiful Stranger” and received a very warm ovation from the capacity crowd.

As many conflicts raged throughout San Francisco with the APEC controversies, Nathaniel Rateliff and Kevin Morby brought forth a supreme night of inner, emotional turmoil brought forward in a heartfelt, accessible and beautiful concert that will be well remembered by those in attendance. The demonstrated the power of great songwriting and soul-filled performances to resonate inside each of us internally while pulling us together as a collective.

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REVIEW: Nathaniel Rateliff & The Night Sweats at The Stone Pony

Nathaniel Rateliff & The Night Sweats rocked The Stone Pony in Asbury Park for a sold out show this 4th of July weekend.  The Future Tour, in support of their third studio album, kicked off in May and runs through late September.  As the rain held out, the sky broke into glorious shades of reds and blues, when the band took the stage.  Rateliff and the band were in fantastic form— never losing their octane-level energy— or raw and powerful vocals.  With a worldly fusion of blues, rock, folk, and soul (not unlike Van Morrison who they’ve covered in the documentary  The Last Waltz ), they were their own force of nature— rocking the house from start to finish.  From the soft horn timbres of songs like  You Worry Me and Face Down in the Moment…  building up to the raucous, bone shattering tracks like  S.O.B . , The Night Sweats covered it all.

One highlight was when Rateliff departed from his standard setlist this tour to treat everyone to the Springsteen cover  Atlantic City ; the crowd collectively roared like wild.  Doing Jersey proud with an absolutely stellar, emphatic rendition, everyone screamed the lyrics in unison and erupted into thunderous cheers, electrified by long “BRUCE!” chants.  While much of the audience was speculating whether or not The Boss would make a special appearance (as he famously does from time to time), Rateliff, again, did not disappoint when he introduced Bruce’s legendary photographer Danny Clinch to play with him on stage.  In celebration of a spectacularly high-energy night, Rateliff launched his guitar into the air, across the stage (twice in fact), and the sound tech skillfully caught the flying Fender Telecaster before it took out any equipment.  Asbury had come to a rock show!

The band did not miss with the encore, either, as they rolled into  The Future — the laid-back Dylanesque tune,   followed by  S.O.B. —the   massive hit which throws a little steroid-injected gospel flavor into the mix of soul rock, amping up to a fever-pitch revelry.

Following the concert, Nathaniel Rateliff and a couple band members went to the Transparent Clinch Gallery on 210 Fifth Ave. for a second (acoustic and intimate) surprise encore, again jamming to the Springsteen cover Atlantic City in a stripped down version for the E Street Radio special broadcast. 

Danny Clinch (who’s worked with the greats— everyone from Tupac to the Foo Fighters) tweeted about the guest appearance and posted one of his amazing photographs of the band here . 

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In a press release for The Future, Rateliff said, “I look at the album overall as a big question.  When I was writing the record we were in the middle of a pandemic and our future looked pretty bleak.  I just continue to try to write from a place of hope.”

The Future LP was recorded at Rateliff’s Broken Creek Studio outside Denver and was produced by Bradley Cook and R.M.B. (Rateliff, Meese, and Barone) who were behind Rateliff’s acclaimed solo project And It’s Still Alright.  The Night Sweats are Nathaniel Rateliff (vocals, guitar), Joseph Pope III (bass), Patrick Meese (drums, percussion, keys), Luke Mossman (guitar), Mark Shusterman (organ, keys), Andreas Wild (saxophone), Daniel Hardaway (trumpet) and Jeff Dazey (saxophone).

After finishing up both European and North American legs, Nathaniel Rateliff & The Night Sweats are about to launch their Canadian leg of the Future Tour, before circling back to North America for a second round, hitting NY on 9/15 at Radio City Music Hall, and coming back to NJ on 9/17 for the Xponential Music Festival in Camden.  Complete tour dates, merch, and music can be found on their official site .

Photos & Review by Jennifer Petrics

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Review: Nathaniel Rateliff brings the heat amid the heat at Pavilion at Riverfront

Nathaniel Rateliff & the Night Sweats performed at the Pavilion at Riverfront on Sunday night welcomed by triple-digit weather and a crowd of nearly 4,000 concertgoers.

The concert kicked off with an opening set by Matthew Vasquez and his band Delta Spirit, an indie-rock group based in San Diego.

The crowd blanketed nearly all of the grass with picnic chairs and beach towels as they waited for the main show.

Around 8 p.m., Rateliff took the stage with his hit “Hey Mama” from his 2018 album “Tearing at the Seams.” The Denver-based singer displayed his wildly soulful voice that matched the instrumentation of his band.

Playing alongside band members Joseph Pope on bass, Mark Shusterman on keyboard, Luke Mossman on guitar, Patrick Meese on drums and Scott Frock on trumpet, Rateliff made sure to keep the crowd on its toes, changing the pace of the concert with every few songs.

The concert scene made perfect for tipsy guests who absorbed the beats and joined in the rock and for those preferring the tempo at a distance.

Outside the concert, vendors kept ground for hours as concertgoers rushed to quench their thirst during the warm night. At one point, Rateliff took aim at the heat, which he deemed unexpected from the Inland Northwest and compared it to Colorado.

During the last hit, concertgoers stood up to show appreciation and give support to Nathaniel Rateliff & the Night Sweats.

A mix of traditional soul, robust country and blues, Nathaniel Rateliff & the Night Sweats rose to fame in 2015 after the release of their debut self-titled album.

Now with more than 2 million monthly Spotify listeners, Rateliff has become known as “a local folk pop hero,” according to the New York Times.

Earlier this year, Rateliff made his debut with a heartfelt performance on “Saturday Night Live” nearly one year after the release of “And It’s Still Alright,” which received critical acclaim.

The record debuted at No. 1 on Billboard’s Americana/Folk chart, landed at No. 2 on the Current Rock chart and remained at No. 1 on the Americana Albums Chart for eight consecutive weeks.

Shafiq Moltafet is a high school summer intern, and he begins his senior year at Mead High School in the fall. Moltafet can be reached at (509) 459-5150 or at [email protected]. Moltafet’s reporting is being funded by a grant from Bank of America.

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