Back from the concert, and working on less than 4 hours of sleep...

Well, what can I say? Tim and I concurred that this was the best performance either of us has ever seen Clapton give. From the opening chords (struck at the precise instant that we walked into the arena) to the end of the encore, the show was high energy and fast-paced. The crowd was also impressive, totally engaged from the beginning. The band hardly broke for more than a couple of seconds between most songs, which sort of interrupted the standing ovations that were presented after nearly every number. Clapton was dressed in a black shirt, black jeans and black sneakers. Ready to do business.

The show was a full-on three (and sometimes four)-guitar attack. EC was of course, front and center. He played a pair of Fender Stratocasters, one of which appeared to be a replica of "Blackie", a hybrid Strat that he assembled from parts of several guitars that he bought in Nashville in the early '70s. He was backed up by Doyle Bramhall II, Derek Trucks, and on two numbers, Robert Cray. Bramhall was a close friend of Stevie Ray Vaughan, and has been playing with EC for the past several years. He alternated between a Fender Stratocaster (which looked exactly like the one featured on SRV's album "Soul to Soul") and a Gibson Les Paul Sunburst (which he played upside down). Trucks splits time between his own band and the Allman Brothers Band (his uncle was a founding member of the Allmans). Trucks was also the youngest player to be named to Rolling Stone's "100 Greatest Guitarists of All Time" list. He played a Gibson SG, and employed a slide on almost every song. Cray is a legendary bluesman in his own right, and has played with Clapton off and on throughout the years. He played a Fender Stratocaster.

Behind them were two keyboardists, Chris Stainton and Tim Carmon. Stainton has played with Clapton since the 70s, and was on stage for the Concert for George. Carmon has played with the likes of Paul McCartney, Bob Dylan, Sheryl Crow, Santana, BB King, Stevie Wonder, and many others.

On bass was Willie Weeks, who has played with a who's-who of rock and country. Joe Walsh, David Lee Roth, John Mellencamp, Stevie Wonder, George Harrison, Vince Gill, John Mayer are some artists who have employed his services. Steve Jordan was on drums, and has also played with the Stones, the Blues Brothers Band, Don Henley, and Neil Young. He was also a founding member of the World's Most Dangerous Band, the group that was featured on Late Night with David Letterman.

The setlist was a little different than what I posted yesterday. Here it is:

Electric Set 1:

Pretending
From 1988's Journeyman album, the record that made me a Clapton fan. Maybe my favorite song from that album, but there were a lot of great songs there. A great way to start the show.

I Shot The Sheriff
From 1974's 461 Ocean Boulevard, this is the song that brought Reggae to the masses. This version was a rocking rendition, with each guitarist taking a turn at the lead. Fantastic.

Got To Get Better In A Little While
From the Layla album, this was maybe my favorite song the night. I liked this arrangement much better than the original. It is a true 12-bar blues, so it can be played any number of ways. Awesome. Great expression of heartache and the longing for love. Which is what that whole album was about. Lasted close to 20 minutes, but it never lost steam.

Old Love (with Robert Cray)
Also from Journeyman, Cray and EC co-wrote this one. This was a 15-minute extended version, with each guitarist taking turns at the lead. Great tune.

Anyday
Also from the Layla record, not one of my favorite songs.

Motherless Children
Track 1 on 461, this is one my all-time favorite Clapton efforts. A rollicking blues-country fusion--just fantastic.

Acoustic Set:

Key To The Highway
From Layla, EC also revisited this song on his collaboration with B.B. King, Riding with the King. It was a much different arrangement than the original album version, which was played electric. All three guitarists played acoustic slide. Very nice.

San Francisco Bay Blues
Clapton first covered this Jesse Fuller number on Unplugged, and he gave it a great treatment here. EC actually played a kazoo in addition to his Martin acoustic. Yes, I said a kazoo. Everyone, including Clapton, got a chuckle out of it. Very upbeat, about losing love in Frisco.

Nobody Knows You When You're Down And Out
Also from Layla, I enjoyed this arrangement more than the original or the Unplugged version.

Running On Faith
Originally from Journeyman, then Unplugged, one of my all-time favorites. The original arrangement featured a dobro, but tonight the dobro was replaced by an acoustic. Nice.

Electric Set 2:

After Midnight
From EC's first solo record, this is one of my favorites. All three guitars were featured here. Very nice.

Little Queen Of Spades
A guitar tour-de-force, as all three axe men were afforded extended solos. From EC's tribute to Robert Johnson, Sessions for Robert J, this was an incredible arrangement. Oh my.

Further On Up The Road
To my knowledge, this song has never been included on an EC studio album, although it has been on several of his live records, and is in fact a staple of his live catalogue. Great tune.

Wonderful Tonight
Many people's favorite, they were dancing in the aisles for this one. Michelle and I have been known to dance to this song, as well. The only song all night that was played straight-away, with little or no deviation from the studio recording.

Layla
From the moment the band took the stage, it was apparent that they were here to play music, and not play around. We were reminded of this once again, as instead of the usual extended intro that EC normally gives Layla, he just launched right into the opening chords. Possibly the most recognizable opening chord sequence in rock history. Wow.

Cocaine
EC's ode to the dangers of drug use, this was written (along with After Midnight) by J.J. Cale. Cale and EC have finally teamed up again, with a complete studio album that is being released November 7. I can hardly wait. I have read that during this tour, Clapton had been playing this song with a Gibson ES-335, but he kept the Strat in hand tonight. Good choice.


Encore
Crossroads (with Robert Cray)
Clapton's signature song, as his life and career have been one crossroads after another. Great arrangement here, with the addition of Cray's Stratocaster. A few years ago, I was asked at the last minute to give a sermon at a youth retreat where the theme was "Life at a Crossroads". My first instinct was to work my sermon around this song, but I felt like that would be too easy, so I wrecked my brain and came from a different angle. If I ever do a similar sermon, I will include the song.

Tim and I consider ourselves quite fortunate that we were able to be at this show. We can hardly wait until EC comes around again.