Robert Plant's Tiny Desk Concert: A Journey Through Roots and Reinvention
In a captivating performance at the Tiny Desk, Robert Plant showcased his enduring connection to roots music, a journey that has evolved from the power of Led Zeppelin to the refined folk, blues, and roots recordings he champions today. This intimate concert, held on a breezy Halloween afternoon, highlighted his latest project, 'Saving Grace', a curated collection of covers that reflect his deep-rooted history with American and British roots music.
The set list featured 'Gospel Plough', a traditional spiritual, 'Higher Rock' by Martha Scanlan, 'Everybody's Song' from the Low album, and 'It's A Beautiful Day Today', originally recorded by Moby Grape. The performance concluded with a new arrangement of 'Gallows Pole', a traditional song Plant first recorded over five decades ago for Led Zeppelin III.
The band's lineup, including Suzi Dian on vocals and accordion, Matt Worley on guitar, banjo, cuatro, and background vocals, Tony Kelsey on guitar, Barney Morse-Brown on cello, and Oli Jefferson on drums, created an intimate, roots-driven sound that perfectly complemented the repertoire. This acoustic approach has been a defining feature of Plant's recent work.
'Gallows Pole' holds historical significance as one of the most important tracks in the Led Zeppelin catalogue. It marked a turning point in the band's acoustic material approach, with a songwriting credit indicating its traditional roots, arranged by Jimmy Page and Robert Plant. The album 'Led Zeppelin III', released on October 5, 1970, was influenced by Page and Plant's time at Bron-Yr-Aur cottage in Wales, where they explored folk textures and alternative instrumentation.
Page adapted 'Gallows Pole' from a version recorded by American folk musician Fred Gerlach for his 1962 album 'Twelve-String Guitar'. The Zeppelin recording begins with a simple acoustic guitar figure, layering mandolin, electric bass, banjo, and drums to build energy and pace. Page played banjo, six-string acoustic, twelve-string acoustic, and electric guitar, while John Paul Jones contributed bass and mandolin, creating a dynamic arrangement that became a highlight of the album.
Page recalled that the song, similar to 'Battle Of Evermore', emerged spontaneously after he picked up Jones' banjo and experimented with the instrument, even though he had not played it before that session. It later became one of his favorite tracks from the album. Led Zeppelin performed 'Gallows Pole' during their 1971 concerts, and Page and Plant revived it again for their 1994 acoustic project, 'No Quarter'.
Plant's decision to revisit 'Gallows Pole' in a contemporary acoustic setting is a logical continuation of his artistic evolution. It reflects his curiosity, consistently seeking new ways to interpret traditional music and align it with his creative voice. This Tiny Desk set confirms his commitment to exploring that heritage with precision and nuance.
The concert was a testament to Plant's enduring connection to roots music, showcasing his ability to reinvent and reinterpret traditional songs while staying true to their emotional core. As he continues to explore this rich musical heritage, fans can expect more captivating performances that blend the past and present seamlessly.
