Robert Plant returns to his musical roots with a intimate Tiny Desk concert performance
Robert Plant made his way into the Tiny Desk studio on a blustery Halloween afternoon and immediately remarked on the modest setup, drawing a parallel to Live Aid and noting the lack of amplified vocals and personal monitors. This format did not faze him, though, as Plant has long been known for his ability to evolve creatively, transitioning from the high-octane sounds of Led Zeppelin to the more refined folk, blues, and roots music that he has embraced in recent years.
His latest venture, Saving Grace, exemplifies this shift with a collection of covers that harken back to his deep-rooted connection to American and British roots music that he has been cultivating since the early 1970s. The album features traditional tunes like Gospel Plough and a rendition of It’s A Beautiful Day Today by Moby Grape, songs that continue to resonate deeply with Plant and have shaped the direction of his music.
During his performance at Tiny Desk, Plant and his band showcased a mix of tracks including Gospel Plough, Higher Rock by Martha Scanlan, Everybody’s Song by Low, It’s A Beautiful Day Today by Moby Grape, and a reinvented version of Gallows Pole – a traditional piece that Plant recorded over fifty years ago on Led Zeppelin III.
The lineup for the session emphasized the acoustic and textural qualities that have become synonymous with Plant’s recent work. With Suzi Dian on vocals and accordion, Matt Worley on guitar, banjo, and background vocals, Tony Kelsey on guitar, Barney Morse-Brown on cello, and Oli Jefferson on drums, the ensemble created an intimate, roots-inspired sound that complemented the material perfectly.
Gallows Pole holds a special place in the Led Zeppelin catalog as a turning point in their exploration of acoustic music. The track, which appeared on Led Zeppelin III, was influenced by Jimmy Page and Robert Plant’s time at the Bron-Yr-Aur cottage in Wales, where they delved into folk textures and expanded their sound palette with alternate instrumentation.
Page’s adaptation of Gallows Pole from Fred Gerlach’s version marked a departure from Zeppelin’s typical sound, layering acoustic guitars, mandolin, banjo, and a driving rhythm to create a dynamic and compelling arrangement. The song emerged spontaneously during a session with Page experimenting with the banjo, a moment that led to one of his favorite tracks on the album.
Plant’s decision to revisit Gallows Pole in a contemporary acoustic context is a testament to his ongoing artistic evolution and his commitment to interpreting traditional music in new ways. The Tiny Desk performance solidified his dedication to exploring this musical heritage with nuance and precision, showcasing his enduring passion for reinvention and creative exploration.
In conclusion, Robert Plant’s Tiny Desk performance was a testament to his artistic journey and his ability to reinvent himself while staying true to his roots. The acoustic setting allowed Plant and his band to showcase the timeless quality of their music, highlighting the emotional depth and richness of their material. As Plant continues to explore new avenues in his music, it is clear that his passion for tradition and innovation remains undiminished.