Joni Mitchell hadn’t played a full concert in over 20 years in front of a live audience, one that knew she was coming.

That all changed Saturday night when the 79-year-old singer-songwriter headlined the Gorge Amphitheater on Washington’s Columbia River. The show follows Mitchell’s unannounced appearance at the 2022 Newport Folk Festival seven years after suffering a debilitating brain aneurysm that left him unable to move or use his voice. rice field.

Modeled after host Brandi Carlisle’s recent so-called Joni Jam at his Bel Air home, the 2 hour, 45 minute, 24-song Gorge set resembled a teaser gig in Newport with Mitchell. And Carlyle sat in an armchair surrounded by an all-star band, watching with gratitude as the 79-year-old icon sang, played guitar, and guest singers performed selections from her peerless songbook. was

Saturday’s show is part of Carlisle’s annual Echoes Through the Canyon weekend event in the Gorge, where she and Mitchell have put together an all-star band and vocalists that include familiar Newport natives. There was a mix of faces and well-known newcomers. Carlyle called them “Joni Jammers” because Celis, Dawes Taylor Goldsmith, Blake Mills, Wendy and Lisa, Lucius, Alison Russell, Sarah McLachlan, Marcus Mumford, and Carlyle As said “Annie and Lennox”.

The Times’ Mikael Wood and Amy Kaufman share their favorite moments from the historic set.

1. Carlisle turned Mitchell’s attention to a glass of Pinot Grigio before starting “Raised on Robbery” in 1974’s “Court and Sparks.” In fact, the wine was in an insulated Yeti cup. According to Carlisle, this is how you drink in Washington. ‘ Mitchell seemed a little more relaxed here than in Newport, as if he was remembering what it was like to work as a musician in front of a crowd. Fun fact: After the song, she told Carlisle that she wrote about a prostitute in Saskatoon, Canada. — Michael Wood

2. Mitchell did a slow, sultry take on 1991’s “Come In From The Cold,” which she did to give the singer-songwriter’s music atmosphere, meaning the words of the song and the It was a reminder of how much effort was put into creating the atmosphere to flesh out the melody. We talk a lot about Mitchell as a lyricist, but she’s also an arranger. — MW

3. In “Amelia” from “Hezilla”, Blake Mills takes what Carlyle identifies as Joni’s guitar and destroys it dark and lustrous solo — “a sacred honor,” as Carlyle puts it. — MW

4. Before delivery unforgettable version With Mitchell singing “Ladies From The Canyon,” Eurythmics’ Lennox moved from the backing musician’s support circle to Mitchell’s side, and how influential the singer-songwriter was during Lennox’s early days as an artist. shared a touching story about Lennox said that when she was 19, she shared a basement apartment with a man who could afford the latest album. When he brought back Mitchell’s, it “started to surprise my mind and lead me down unexpected paths.”

“The problem is, back in the day, very few women were doing what we were doing,” Lennox continues. “We take that for granted, don’t we?” — Amy Kaufman

At the Gorge Amphitheater with Celis (left) and a few artists called Joni Jammers.

(Chona Kasinger/For the Times)

5. LA-based singer and guitarist Celis, whom Mitchell says reminds her of Jimi Hendrix, delivered a star-making song on her mid-’70s soft rock hit “Help Me.” , transformed into ghostly percussive soul. funk jam. After the song, Carlyle said that the hallmark of Joni Jams was that he wasn’t just watching Joni perform, he was performing himself. for Joni. — MW

6. When Carlyle asked Mitchell why he started covering the 1959 Lieber & Stoller song “Love Potion No. 9” with Joni Jams, Mitchell responded with understandably delicious tone. replied that it was one of her “rock and rock” songs. Days of roll dancing. ”

“When you start over at home, you get drunk and have a great time,” Carlisle told the crowd. Here, Mitchell nailed the bass vocals with the line “I had a drink.” — MW

7. What can you say about “A Case of You” from “Blue” so far? It may be the most moving love song in pop history. Certainly, no song captures the experience of being overwhelmed by someone else’s charm more vividly (even if you know he or she isn’t the right person for you). sung by Mitchell It’s like a woman who knows there’s some lie in every story about love, and it’s worth savoring, repeating, and exposing. — MW

8. “Joni, I’m going to ruin one of your songs,” Mumford said before singing “California,” an anthem Mitchell wrote in the early ’70s. His gritty folk-soul interpretation of the song, accompanied by swooping guitars by Mills and pinpricked backing harmonies by Lucius, was the second best of the night, behind Serris’ radical reworking of “Help Me.” was an interpretation. — MW

Audience at the Gorge Amphitheater.

(Chona Kasinger/For the Times)

9. Mitchell’s fans know that her voice has changed since the lofty and pure days of “Blue”—it’s gotten lower and more grainy—but as she’s getting closer, how much her singing has changed. It’s a gift to hear how you’ve acquired (more) emotional wisdom 80. Her vocals sounded pure slow version It seemed to ooze wisdom when she wrote it more than half a century ago, but now it feels like some kind of ancient rune. — MW

10. Before leaving the stage for good after midnight, Mitchell told the crowd that there was one more thing he wanted to do. It was a Frank Sinatra song, she said, but it turned out to be an early wistful pop standard, “Young at Heart,” by Johnny Richards and Carolyn Lee, Living to 105 About the 50’s. “Thank you guys for coming. It was a great experience,” said Mitchell, who hobbled across the stage as she hugged many of her collaborators. — MW