Noise: SFBG Music Blog - When Smokey sings... at the Paramount

Going To A Go-Go.jpg

By Andre Torrez

I heard the opening drums of “Going to a Go-Go” as I entered Oakland’s ornate Paramount Theatre. My friend and I arrived just a few minutes tardy, and I was agitated as she decided to go to the bathroom at the last minute. The girl lines always take longer.

So I waited in the lobby and I listened to Smokey Robinson’s opening number for what would be an iron-man two-hour performance with no support from any other acts. I paced in the hallway impatiently, eager to peer at the legendary voice of Motown from behind the velvety curtain. A calm came over me once my friend resurfaced, and we were ready to find our seats.

Thankfully the Paramount is a classy joint and they have ushers that guide you. No time wasted, we were in and I had a panoramic view from the cheap seats in the balcony of golden walls and fellow fans of Detroit soul. Down at the center of it all, there he was. A man well into his late 60s, soaking in the spotlight, wearing a white satin suit and diamond earrings that glowed even from the my vantage point. I guess I shouldn’t have expected anything less - after all, he is an icon.

There were plenty of costume and stage-set changes throughout the show. Accompanied by an upright bass, a la Sinatra, Robinson slipped into a tux to croon some jazz standards and classic covers (i.e., “Fly Me to the Moon") off a new album. It suited his aging voice, and I was surprised by how well-done the arrangements were. It’s not often I find myself wowed by the saxophone. Even Maceo Parker would have been proud. Robinson's final outfit grabbed my attention most. It wasn’t so much his white button-down shirt, but man, those pants completely covered in purple sequins were straight out of MJ’s closet, with matching shoes to boot. It was out of control.

The night was full of storytelling, backup singers, and dancers - with plenty of fanfare and rightfully so. Robinson demonstrated a breadth of songwriting ability, being a member of Motown since its inception 50 years ago. He gave the audience a taste of tunes he’d written for the Temptations, and in turn, the ones others had written for him like the Stevie Wonder-penned “Tears of a Clown."

“Tracks of My Tears” brought the house down, earning Smokey a standing ovation. During the audience-participation portion of the show, Robinson divided the crowd for a sing-along of “Cruisin'” - you know, the one Gwyneth Paltrow and Huey Lewis ruined earlier this decade? As one of the backup vocalists announced the winning side, a disappointed audience member from the losing side simply shouted “Bring it!" It doesn’t get much more Oaktown than that. However, the “poet laureate of love” mostly gave the audience what they wanted with a professionalism and presence evocative of the Motown revues of the '60s. My only complaint was that “Micky’s Monkey” was missing from the set list.