PHOTOS: RICHIE DOWNS | If you’re under a certain age, you might be forgiven for wondering why anyone would go see Chrissie Hynde today. At 63-years-old, after decades of fronting the Pretenders and only just releasing her first solo album this summer, it would be easy to assume Hynde’s voice is shot, her songs dated, her energy low.
You would be wrong.
Playing a mix of material from her solo debut Stockholm and classic Pretenders hits, Chrissie Hynde proved that she’s still at the forefront of making and performing genuine rock and roll. With a voice that is somehow still pristine and a look that screams anglophile musician, there is no doubt that she retains her position as rock royalty.
Shortly after the lights dimmed at the Lincoln Theatre on Friday night, with Sam Cooke’s version of the “The Great Pretender” playing on the soundsystem, Hynde swaggered on stage to an overwhelming roar of excitement from the audience.
She wore skintight pants and a white bomber jacket that soon came off to reveal a classic black vest and tie. With her trademark shaggy bob just touching her shoulders, Hynde certainly looked the part of legendary rock and roll badass. Backed by a group of hip young guys, a few wrinkles around her eyes were the only hint that separated Hynde from the youngsters.
The set started out with too little energy for what the crowd needed, with the slow, bluesy “Don’t Lose Faith In Me” and an overly mellow rendition of “Biker.” But those were the only missteps of the night.
It didn’t take long for Hynde to warm up. A few songs in, she picked up her acoustic guitar and played a sweet version of “Like In The Movies” off of Stockholm. It showed off the range of her voice and ease with which she can still hit the high notes.
Hynde followed up with the Pretenders hit, “Talk of the Town,” which got the entire theater singing along for the first time. In the orchestra section, baby boomers danced in the aisles. It was this point in the night when I realized just how much younger I looked than anyone else there, when an older man nicely leaned down from behind me to make sure I knew that “this is her hit!” (I knew.)
Throughout the show, Hynde’s banter with the audience just further served her confident, self-deprecating mentality. Early in the night she peered into the audience, explaining, “I’m checking out the front row for any talent…I’ll have whoever will have me. Who else are you going to have?” The venue filled with shouts from would-be suitors. Later on, she took a stab at politics, declaring “I’ve voted three times in my life”—in 1968 for Eugene McCarthy, and for Barack Obama. And then, “If you don’t agree with me, go fuck yourself.” Given the cheers, I think most fans were in strong agreement.
As the night went on, the sound became louder and stronger as Hynde focused on the punk and guitar-driven rock that fills the Pretenders catalogue. “Downtown” was fast and dramatic; even 24 years later, the song sounded modern and offered a hint of young, careless rebellion. On songs like “Night In My Veins,” a Pretenders track from 1994’s Last of the Independents, Hynde was even more intense and dynamic than on the recorded version. A trace of feedback from the mic didn’t even come close to ruining the energy.
While the set leaned heavily on the Pretenders, she did play nearly every song off of Stockholm. But Hynde is honest and adamant about what her solo record is—or more accurately, what it isn’t—it’s not anything new. With people pushing her for 30 years to go solo, you finally “just say yes,” she said. “This solo thing is just rebranding, nothing new…it doesn’t matter.” Hynde went on, “Cat Power said ‘I thought it was going to be you and your guitar.’ Not a chance. Believe me, you wouldn’t have lasted this long if that were the case.”
And actually, it would be remiss not to mention her excellent band, particularly guitarist James Walbourne. Walbourne is part of Hynde’s opening band The Rails, and is an acclaimed English guitarist. Several times throughout the night, Walbourne managed to steal the spotlight from Hynde with his expert guitar solos. While I’m sure the audience would have loved a truly solo Hynde performance, her show was certainly strengthened by the musicians backing her.
After two encores, including a cover of Ray Davies’ “I Go To Sleep” that was a perfect homage to the ’80s as well as a couple more Pretenders tracks. Hynde ended the night with “Dark Sunglasses,” the first single off of Stockholm. Generally, her newer songs are lighter and more melodic than the older Pretenders’ work she played. But in line with the feel of the night, Hynde did her best to toughen it up.
It’s easy to focus on how impressive Hynde is just because she has survived in the industry for so long. And while her longevity certainly adds gravitas, her performance proved that there’s much more to her. I’m not sure that her new album is the best introduction for Chrissie Hynde or Pretenders newbies—it feels too produced. But the grittiness and authenticity that she conveys when performing, her comfort on stage, her strength on guitar, the distinct beauty of her voice—that’s what makes Chrissie Hynde great.
