David Crosby procrastinated more than 20 years before finally releasing a new solo album, “Croz,” earlier this year. In the months since, he apparently discovered a sense of urgency. The 72-year-old singer played the record from start to finish Monday at the first of a sold-out two-night stand at City Winery. While not without hiccups, the recent material forced Crosby out of the nostalgic comfort zone and reiterated themes central to his familiar work. The Age of Aquarius passed long ago, but Crosby still clings to countercultural beliefs and the power of dreams.
He can’t be faulted for channeling optimism. Renowned for chemical abuse, Crosby nearly drank and drugged himself to death before getting clean. High-profile personal episodes—including a controversial liver transplant—turned him into a tabloid figure. During the past few years, he turned his attention back to music, including teaming up again with frequent collaborators Stephen Stills and Graham Nash for a CSN tour that stopped in Ravinia on Saturday. His health, however, is a concern. Both solo dates were originally scheduled for February and postponed due to his heart surgery.
Resembling a cross between a silver-haired Krusty the Clown and tamer Yosemite Sam, Crosby showed no sign of weakness during the 150-minute concert. He cracked jokes, shared stories and expressed appreciation for getting the chance to perform with a sharp band that included his son, James Raymond, on keyboards. Most importantly, his warm, goldenrod voice was in top form, particularly on multi-part harmonies. Crosby’s only technical slip-ups occurred on acoustic guitar.
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Led by guitarist Shane Fontayne, Crosby’s group provided all the foundations he needed. Modal structures and fluid grooves complemented the vocalist’s jazzy phrasing on ballads (“Slice of Time”), folk (“Radio”) and psychedelia (“Luck Dragon”). Pensive and searching, Crosby poured over each word. He sounded most convincing when agitated and the songs electrified. “Set That Baggage Down” could’ve passed for an insistent tune one of his colleagues, Neil Young, wrote. “That House” morphed from a lament into a street shuffle. Scat vocals and biting blues ignited CSN’s “Long Time Gone.”
Alas, Crosby and company also gave into hippie excess and new-age introspection. A cover of CSNY’s “Déja vu” spawned an aimless jam involving bass and drum solos. “Holding On to Nothing” snoozed and utilized faux keyboard horns. Other slow songs meandered a midst stoned-out moods. If anything, Crosby proved consistent.
“Fear is the antithesis of peace,” Crosby crooned on the new “Time I Have.” The decades changed, but his sentiment remains the same.