*One of the toughest realities one eventually faces as both a fan of a music great and a music journalist is watching a beloved legend in heartbreaking decline. One of the most rewarding things to see as a fan and music journalist is a veteran in full command of their legacy in a career-spanning concert. I experienced both Friday July 24 when Smokey Robinson‘s and Gladys Knight’s “Just the Two of Us” tour landed at the Hollywood Bowl for a 2-night engagement.
Disclosure: I had forgotten that I had requested press credentials for this event. I had already viewed footage from earlier engagements on YouTube. Part of me absolutely did not want to see where Ms. Knight had arrived as a performer. I have interviewed this legend – one of my favorites since childhood – on three occasions – including off-camera for her TV special, “Being Gladys Knight,” as well as for the EPK and bio of her Verve Records Jazz CD, Before Me. I have seen her in concert – with and without The Pips – about 8 times. As a lover of Ms. Knight’s always stellar, knocking it out of the park work, I did not want my last time seeing her live to be the disappointment all indicators forewarned it would be.
On the other hand, with the tenets of my journalistic profession weighing heavily on my shoulders – I felt it was my duty to bear witness and speak my truth for posterity and balance, while supporting the empress as empathetically and telepathically as I could. I had not been well the week leading up to the show and was literally in a chair having blood work done when the email came through stating that all my credentials were waiting for me at The Bowl. That sealed my fate. No matter what, destiny declared I would be in the house. I hobbled over to the venue and up to my seat with venerable colleagues…and prayed for the best.
At the stroke of 8pm, Ms. Knight’s band opened the night with a brilliantly arranged medley that led into the late `70s Ashford & Simpson-penned Soul hit, “Taste of Bitter Love.” Gladys – donned in a black ensemble adorned with glittering gold – was chaperoned to the stage with two of her three female background singers on either side of her to rousing applause. Her show started o.k…but soon a sad pattern began. She would become distracted by faces she saw in the front rows, shout out “You’re beautiful…all of you,” lose her place in the song, then only occasionally regroup either from song cues or direct prompting from her singers. Those support vocalists have become so accustomed to this that one of them jumps in to respectfully take over the lead until/if Gladys recovers.
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It was heartwarming to see the level of thought that went into the selection, sequencing and pacing of Knight’s show. One would expect nothing less from a pro such as her and anyone blessed to be on the gig. The old Motown groove “Nitty Gritty” paired with a nod to The Jacksons’ “Shake Your Body (Down To The Ground)” [you know it was Gladys along with Bobby Taylor who really discovered them, right]. Then there was the Curtis Mayfield-penned “Make Yours a Happy Home” from the “Claudine” movie soundtrack (which she had sung so well ten years prior in 2016 right here at The Bowl as part of “The Academy Salutes The Black Movie Soundtrack II”), then one of her earliest `60s hits, “With Every Beat of My Heart,” one of her funkiest with “Love Overboard” followed by two epic ballads: “You’re the Best Thing That Ever Happened To Me” and “If I Were Your Woman.” ALL of these songs proved problematic for Gladys resulting in the swift and smooth saves of her singing trio.
The two songs that Gladys got through relatively error free came back-to-back next: the spiritual “What a Love I Have Found” and the thumpin’ “(I’ve Got to Use My) Imagination.” Why? I believe both contained lyrical messages she strongly related to in that moment – on stage – in front of all those people.
Next was “Save the Overtime for Me” in a medley with Luther Vandross’ “Never Too Much” for which she needed complete assistance… She was walking around the stage admiring her bassist diligently at work or the singers singing…as if she was in the audience watching them. The back-to-back Funk of “On and On” and “I Heard it Through the Grapevine” (in a cool arrangement that included both the Pips’ Latin Soul vibe and Marvin Gaye’s rattlesnake horror vibe) which led into what should have been a fun dance section of James Brown’s “Sex Machine” and The Time’s “The Bird.” It was painful to watch.
“Neither One of Us (Wants to Be the First to Say Goodbye)” was next – almost completely sung by another singer. Heartbreaking…
Then the last touching moment of her set arrived with the sentimental “That’s What Friends Are For” which she recorded with Dionne Warwick, Stevie Wonder and Elton John. The audience gladly joined Gladys here for the bittersweet ‘keep smiling/keep shining’ chorus.” I was in tears at this point.
Two more Contemporary Gospel pieces followed in “What Do You Do” and “Take Me to The King.” And the finale was, of course, “Midnight Train to Georgia.” As the singers walked Gladys off to stage left, my feelings were of great sadness, merciful relief…and a bewildered anger for why we were all subjected to seeing ‘Auntie Gladys’ in such a state.
The irony is that when Gladys was dialed all the way in, she was 100 percent her magnificent self! But those precious moments were few and far between.
People I know close to the situation have shared many things which are honestly not for me to divulge in a ‘concert review.’ The bottom line is Gladys Knight – who has been wowing audiences since the age of 8 when she won First Prize on the televised “Ted Mack Amateur Hour” on July 15, 1952 – 74 years ago – deserves better! Our Empress of Soul” is now 82 years-old and clearly battling some level of dementia. She should be home with loved ones…anywhere but on a stage. The lady and her legacy deserve a well-earned rest.
@mahoganyskyy Great night went to the @HollywoodBowl to see Uncle Smokey @Smokey Robinson He is an Amazing performer #Motown #Berrygodyiv #gordy ♬ original sound – Valerie
At the other end of the spectrum, William “Smokey” Robinson – backed by a 4-piece rhythm section, a sax, four female string players and two female backing vocalists – delivered an amazing show. I was initially wary of his performance, too. The last time I saw him, he was performing at a port on the “Soul Train Cruise.” The legend got so out of hand with some sexually provocative movements that many of the retiree vacationers walked out of the show opting for an early dinner back on the ship.
This night at The Bowl, however, 86-year-old Robinson’s set began with a short video documentary followed by a lovely “Overture” for a photo collage. In enters Smokey singing “Being With You” – looking good in a white suit, sounding amazing in his emotive tenor and shimmering falsetto ranges, and gliding around the stage – right, left and center. He reached back to his days with the Miracles for “I Second That Emotion” and “You’ve Really Got a Hold On Me.” Then with the video backdrop turning into a luscious sky blue with clouds, he celebrated the 50th anniversary of his album classic, Quiet Storm, singing the title track (with extensive jazz instrumental solos) and “The Agony & The Ecstasy.” This was breathtaking – the album and song that inspired a sophisticated Black Adult Contemporary radio concept.
Next, background singer/wardrobe mistress Lindsay Walker helped Smokey off with his jacket and tie in a showy flourish as he acknowledged Motown songwriters Mickey Stevenson and Eddie Holland in the good seats, then sang a medley of songs he penned for The Temptations: “The Way You Do The Things You Do,” “Get Ready” and “My Girl”- all with background stories to share.
Smokey then performed one of his most recent recordings – a sexy song titled “Gasms” which titillatingly acknowledged the reality and importance of both ‘eye-gasms’ and ‘ear-gasms.” Smokey emphasizes that desire never needs grow old. After introducing the band, he sang his blue lights in the basement gem “Ooo Baby Baby.” Then he shared a story about Stevie Wonder that led into a song they co-wrote: “The Tears of a Clown.” He rekindled just a smidgen of his sexcapades during an otherwise lovely “Just to See Her.” Then he brought the house down with his crooner’s classic, “The Tracks of My Tears,” to a standing ovation.
The one stumble of the show came next during the classic “Cruisin’” which he opened up to audience participation, bringing members to the stage. This went on way too long. hindering the momentum of a show that was excellent up to this point. Thankfully, Smokey closed with his version of William DeVaughan’s spring of `74 Soul message, “Be Thankful For What You Got” which he released as a cover single in 2025 on his most recent project, What The World Needs Now.
Smokey lovingly referenced Gladys Knight twice in his stage patter, citing her as ‘Motown family’ and her decades of musical excellence. In a set overflowing with nostalgia, songcraft and sweet summer warmth under the stars, these sentiments made the classiest coda of all.
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