Bonnie Raitt Live at Royal Albert Hall, London – A Soul-Stirring Night of Blues, Ballads & Brilliance

On a shimmering night in London, the legendary Bonnie Raitt graced the stage of the iconic Royal Albert Hall—and what followed was nothing short of spectacular. With a career spanning five decades, Raitt delivered a masterclass in soul, blues, and Americana that had fans on their feet, in tears, and everything in between. Her voice—earthy and evocative—wrapped itself around every note, and her slide guitar work burned with the authenticity of a life lived through music.

Setlist Highlights – A Journey Through Heart, Soul & Grit

Raitt’s setlist was a beautifully curated tapestry of covers, deep cuts, and career-defining classics. Here are some of the most stirring highlights:

• “I Sho Do” (The Bluerunners cover) kicked things off with infectious New Orleans groove, immediately drawing the audience into her soulful world.

• “God Was in the Water” (Randall Bramblett cover) followed with gospel-tinged mysticism, showcasing Bonnie’s ability to find the sacred in the secular.

• “Thing Called Love” (John Hiatt cover) brought the house down with its rocking pulse, one of the crowd’s early favourites.

• “Your Good Thing (Is About to End)” (Mable John cover) saw Bonnie channeling pure emotion, drenching the hall in blues heartbreak.

• The funky “Unnecessarily Mercenary” (Jon Cleary cover) let the band stretch out, underscoring their tight, world-class synergy.

• A standout moment came with “Women Be Wise” (Sippie Wallace cover), where Raitt delivered sly humour and sass, honouring the blueswomen before her.

• Her emotional rendition of “Dimming of the Day” (Richard & Linda Thompson cover) was nothing short of spellbinding.

As the night built toward a crescendo, she performed:

• “Just Like That”, her Grammy-winning, heart-wrenching ballad about organ donation and redemption. The hall fell silent in reverence.

• “Something to Talk About” and “Nick of Time”, songs that launched her into superstardom, were met with thunderous applause.

• A powerful cover of “Angel From Montgomery” (John Prine) reminded everyone why she remains one of the greatest interpreters of American songwriting.

Bonnie Raitt

✨ Encore – Leaving the Audience Breathless

Raitt returned to a standing ovation, delivering a tender, near-spiritual version of:

• “I Can’t Make You Love Me” (Mike Reid) – an intimate, piano-driven performance that left not a dry eye in the house.

• “Right Down the Line” (Gerry Rafferty) brought warmth and groove, before closing with an explosive and unexpected cover of:

• “Burning Down the House” (Talking Heads) – a fiery, genre-defying closer that brought everyone to their feet one last time.

The Band – Masters Behind the Magic

Bonnie was backed by a phenomenal band, each member a star in their own right:

• Hutch Hutchinson – bass: Raitt’s longtime collaborator, laying down rock-solid grooves.

• Ricky Fataar – drums: dynamic and sensitive, seamlessly moving between ballads and barnburners.

• Duke Levine – guitar: tasteful leads and shimmering textures complemented Bonnie’s iconic slide work.

• Glenn Patscha is a master of musical nuance and soul. His keyboard playing is effortlessly expressive, blending deep groove, rich harmony, and an emotional sensitivity that elevates every piece he touches. Whether it’s a smoky Rhodes line, a lush Hammond swell, or delicate piano phrasing, Glenn brings a storyteller’s instinct to the instrument. His style fuses gospel, jazz, roots, and rock with complete authenticity. There’s a quiet power in his restraint and a boldness in his choices that set him apart. Few players manage to serve the song so completely while still leaving a lasting musical fingerprint—Glenn does, every time.
• Jon Cleary – keys and vocals: brought New Orleans soul, funk, and gospel to every phrase.

Their synergy was palpable—decades of experience wrapped in effortless chemistry.

The Pinnacle of Excellence – A Gig to Remember

Bonnie Raitt’s performance at the Royal Albert Hall was more than a concert—it was a celebration of life, love, and loss, told through the universal language of music. Her ability to weave humour, sorrow, and grit into a single set is unmatched. For those lucky enough to attend, it was a night carved into the soul.

If you’re searching for a reminder of the power of live music—or wondering whether Bonnie Raitt still has “it”—look no further. She doesn’t just have it. She is it.

Duke Levine: The Immaculate Guitarist Behind the Magic

Duke Levine is a guitarist of rare elegance, versatility, and soulful depth. Known for his tasteful restraint and tone-rich playing, Duke has built a career that is equal parts artistry and service to the song. Whether he’s laying down shimmering ambient textures, crisp country licks, or blues-soaked leads, his guitar work always exudes emotional intelligence and musical maturity.

Levine’s style is rooted in Americana, but he fluently navigates blues, folk, soul, and rock, often blending genres within a single phrase. His touch is warm and deliberate, his phrasing economical yet evocative—never playing a note more than needed, yet always saying something memorable. From Telecaster twang to lush, reverb-drenched atmospherics, his sonic palette is broad but never flashy. He embodies the idea that true virtuosity lies in serving the song rather than dominating it.

Duke has brought his refined sensibilities to a wide range of artists, both live and in the studio. His resume includes work with musical luminaries like Bonnie Raitt, Mary Chapin Carpenter, Peter Wolf, Aimee Mann, and Rosanne Cash, among many others. In each case, he adapts seamlessly to the artist’s vision while adding a distinct touch of his own—subtle, melodic, and full of heart.

Beyond his work as a sideman, Duke’s own instrumental records such as Lava and Beneath the Blue showcase his masterful composition and his ability to make the guitar sing with personality and poise.

In a world often obsessed with speed and flash, Duke Levine remains a beacon of grace and musical wisdom. His guitar doesn’t just play notes—it tells stories, paints landscapes, and breathes life into every performance. Immaculate is the only word that fits.