At the intimate Shubert Theatre in Boston this past Thursday, November 6, one of the greatest rock and roll vocalists and musical icons, Robert Plant, graced the stage along with his current band Saving Grace, which featured ethereal vocalist Suzi Dian along with drummer Oli Jefferson, guitarist Tony Kelsey, banjo and string player Matt Worley, and cellist Barney Morse-Brown. The talented collective is currently delivering one of the most compelling and nuanced musical experiences on the road today. Their latest tour is less about stadium rock nostalgia and more about a deep, shared exploration of roots music, global influences, and acoustic intimacy. Supporting their new record, which Plant describes as “a song book of the lost and found”.
As the lights dimmed to showcase the Saving Grace buffalo backdrop, the band took their mark and began playing the first few bars of the opening song. Plant and Dian slowly emerged from the sides of the stage and were greeted with an immediate standing ovation. The anticipation in the venue at that time was palpable, with a mix of dedicated Zeppelin fans and newer followers eager to witness this unique, stripped-back iteration of a rock icon.
The ensemble wasted no time setting the evening’s complex tone. Without grand fanfare, they immediately immersed the audience in their distinctive sound, kicking off the set with the haunting lament of “The Cuckoo.” This was quickly followed by the driving, rhythmic folk of “Higher Rock,” establishing a spiritual connection between the stage and the seated crowd. “Rock” allowed for Plant and Dian to showcase their vocal chemistry by swapping verses before ultimately turning the song into a proper duet. The immediate shift in dynamics showcased the band’s mastery of light and shade.
The third song of the evening, however, was the first unmistakable signal that the audience was in for something truly special. Planting a firm flag in their shared musical history, Saving Grace treated the audience to a glorious, reimagined version of Led Zeppelin’s epic, “Ramble On.” This rendition was less an anthem and more a shimmering, acoustic daydream, allowing the intricate string work and Dian’s harmonizing vocals to breathe new life into the classic narrative of love lost in Middle-earth.
As the early moments settled, the band continued to draw from a well of deep-cut influences and originals. They flowed seamlessly into two further highlights that cemented their control over the mood. “Let the Four Winds Blow” offered a breezy, melancholic counterpoint to the earlier intensity, perfectly showcasing the band’s delicate fingerpicking styles. This was paired beautifully with the introspective and yearning sounds of “Too Far From You.”
The band then performed another deeply appreciated nugget from the book of Led Zeppelin, reminding everyone of the breadth of Plant’s catalog, but filtered through the Saving Grace lens. They launched into a rousing, rhythmically complex take on “Four Sticks.” Far from the original’s heavy barrage, this version was driven by a tight, tribal percussion and acoustic urgency, thrilling the Zeppelin faithful who cheered the recognition of the deep cut.
In between songs, Plant took ample time to engage directly with the audience, demonstrating his trademark warmth and humility. These moments of conversational intimacy provided insightful context to the music. He spoke passionately about how his own musical influences came from all over the world and shared his admiration for the criminally underrated psychedelic blues-rockers, Moby Grape, drawing audible agreement from the more devoted musicologists in the room.
Following this moment of personal sharing, the collective dove back into their own material with evident joy. They performed “It’s a Beautiful Day Today,” delivering a rollicking, uplifting take that showcased their collaborative chemistry. The song, filled with bright guitar textures and a driving, optimistic rhythm, served as a powerful declaration of their own identity amidst the covers and reinterpretations.
As the set moved toward its conclusion, the band impressed with a thoughtful selection of covers that highlighted the musicians’ versatility. They delivered a faithful yet entirely unique cover of “Everybody’s Song” by the American indie band Low. The choice was unexpected, but the performance proved that the gentle, hypnotic qualities of Low’s material integrate seamlessly into Saving Grace’s quiet folk soundscape.
Perhaps the most exceptional moment of the covers section was their take on Neil Young’s “For the Turnstiles.” This was one of many songs where the vocal pairing of Robert Plant and Suzi Dian absolutely soared to new, breathtaking heights. Dian’s chorus work and soaring soprano filled the spaces left by Plant’s signature tenor, elevating the song from a simple folk tune into a majestic, gospel-tinged duet that earned a massive ovation.
To end the initial set, the band chose to deliver another profound gift to the audience: a mesmerizing rendition of “Friends.” The deep cut from Led Zeppelin III was transformed from its atmospheric studio version into a vibrant, communal farewell. The complex melody, often lost in the original’s mix, was clear and bright, much to the pleasure of the considerable Zeppelin fan base who were in attendance and singing along softly.
The band acknowledged the thunderous applause with genuine warmth, thanking the crowd and playfully waving good-bye before leaving the stage for a few minutes. While the audience knew there had to be an encore, the few minutes of waiting were filled with anticipation. As the stagehands moved around to reconfigure instruments and microphones, the crowd stirred, knowing the evening’s final moments would be charged with energy.
For the ultimate finale, the ensemble emerged to deliver a blistering finish. Plant started the encore by taking the wayback machine for a performance of his solo track, “Down to the Sea.” Then, as if putting the final, perfectly sweet icing on the cake, they kicked into a powerful, fun medley of “Gallows Pole” and “Black Dog.” The combination instantly brought everyone to their feet, and Plant, demonstrating his continued humility, sense of humor, and deep-seated ability to engage with his fans, drew them into a joyous call-and-response during the latter, capping an evening that felt less like a concert and more like a privileged journey through the history of rock and folk music.
