The Death Of The Night Watch

This time aftermost year, Joni Mitchell was Zooming in to Clive Davis’ basic Grammy affair — blame off the night with wine and dressed in finery, and then, as the hours wore on, blame aback to watch performers in pajamas, with airheaded and her accurate amber cat Bootsy in tow. (Bootsy was called afterwards Puss and Boots if you charge apperceive — and we must.)

This year, however, she strides bottomward the red carpeting in a sparkling capote and beanie at the MusiCares Actuality of the Year accident — for which, of course, she is said person. The alone beastly in actualization is the design wolf’s arch that acme her cane.

“My abode is not a bad abode to be quarantined,” Mitchell tells Rolling Stone, apropos to aftermost year’s Grammy festivities, which were acutely bound and sometimes basic due to the pandemic. “We accept a accumulation of bodies — I alarm the Joanettes — day nurses and night nurses, and they’re all admirable bodies who I adore.” She gestures at the active admirer to her left, her concrete therapist, who she’s brought forth for the ride. He sits beside her during the absolute night of performances, during which a account of Grammy nominees and winners carol Mitchell — a affectionate of “this is your life” in song.

Joni Mitchell, fourth from left, and artists accomplish “Big Yellow Taxi” at the cessation of the 31st anniversary MusiCares Actuality of the Year account bright anniversary Mitchell on Friday, April 1, 2022, at the MGM Grand Conference Center in Las Vegas.

Chris Pizzello/Invision/AP

Brandi Carlile and Jon Batiste acted as ringleaders for the evening, which kicked off with applesauce pianist Herbie Hancock and saxophonist Terrace Martin assuming “Hejira,” off of Mitchell’s 1976 anthology of the aforementioned name. Carlile has become a abutting acquaintance of Mitchell over the years, she tells Rolling Stone, dressed in a aciculate denim clothing she jokingly calls a “Canadian tuxedo.” Back she aboriginal heard Mitchell’s music, however, Carlile admits that she aghast at the lyrics. “When I was 22, T-Bone Burnett played me ‘All I Want,’ but back it got to the lyric, ‘I appetite to allocution to you/I appetite to absterge you,’ I was like, ‘Turn this song off; I appetite annihilation to do with this song.’ I didn’t accept the ability for it.” Still, back she heard the 1966 cut “Little Green,” she afflicted her accepted tune. “I accomplished she was apparently the toughest songwriter that anytime lived,” she says. “I apperceive back I address a song, at some point, I’m activity to accept to get in my car and drive to Joni’s abode and comedy it for her. So I wouldn’t address a song that I would be ashamed to comedy for her.”

Angélique Kidjo, who performed “If” from 2007’s Shine, additionally begin backbone and afflatus in Mitchell. Back she was aboriginal starting out in applesauce school, Kidjo tells Rolling Stone, she was met with alarm from her adolescent classmates, who couldn’t accept why a woman from Africa was belief jazz. For her part, she didn’t accept why applesauce had to be so difficult, so rarefied. Back a acquaintance angry her on to Mitchell, she says, she begin her path. “From the aboriginal time I listened to the song ‘The Dry Cleaner From Des Moines’ I was like, ‘This is what I’m following.’ She and Ella [Fitzgerald] were on both abandon of my bed. That’s it.”

St. Vincent performs “Court and Spark” on date during the 2022 MusiCares Actuality of the Year bright anniversary Joni Mitchell at the MGM Grand Conference Center in Las Vegas, Nevada, April 1, 2022.

Angela Weiss/AFP via Getty Images

For Annie Clark, a.k.a. St. Vincent — who performed 1974’s “Court and Spark” — Mitchell is a maker of mantras, a guidepost. “Much of my alert to Joni has been actuality a woman on the road,” Clark tells Rolling Stone. “Feeling that bareness and alert to Joni allocution about it, too, and activity accepted in a actual specific way. I anticipate about her singing, ‘There’s abundance in melancholy’ [from ‘Hejira’] every day. That’s my mantra. She’s so deep. She’s the deepest.”

The night was rangy, with performers from all ancestors and genres. Foo Fighters frontman Dave Grohl’s daughter, 15-year-old Violet, gave a stunningly absolute adjustment of 1974’s “Help Me” — crumbling to hit the carpet, likely, to abstain journalists badgering her about the contempo afterlife of her father’s bandmate, Taylor Hawkins. John Legend gave a absolutely adept achievement of 1971’s “River,” tickling out the Christmasy tune as he rotated on a date that echoed the night’s Instagram-worthy dessert: a Grammy accolade spinning on a record, all absolutely edible. (When the camera flashed Mitchell beyond the massive screens, chastening was clear — conceivably because there’s annihilation all that affected about bitter into a phonograph.) Beck additionally fabricated an appearance, allotment the actual Beckish clue “The Jungle Line,” off 1975’s deliciously beat classic, The Hissing of Summer Lawns.

One of the standout performances of the night by far came from Billy Porter, who — decked out in chainmail fabricated of arena cards — fabricated the oft-covered 1966 clue “Both Abandon Now” absolutely his own, admitting the actuality that the song is at aiguille assimilation point at present afterwards actuality featured in Best Picture winner, Coda. And again there was Carlile’s all-important adjustment of 1970’s “Woodstock,” accompanied by Stephen Stills on guitar; Stills initially covered the song with Crosby, Stills, Nash & Young. Admitting alone call the song already — or so he says — Stills ripped through “Woodstock” as if it were bristles decades ago. “[We did] her adjustment rather than mine, which was too bombastic,” Stills tells Rolling Stone. “It’s a night for Joni so we should do it like she does.”

Stephen Stills and Brandi Carlile accomplish onstage during the MusiCares Actuality of the Year commemoration anniversary Joni Mitchell at the MGM Grand Marquee Ballroom on April 01, 2022 in Las Vegas, Nevada.

Emma McIntyre/Getty Images for The Recording Academy

Cyndi Lauper, Jon Batiste, Graham Nash, and added — three hours of music committed to a woman who, as Carlile says, “invented the confessional.” It all capped off, naturally, with a massive singalong of 1966’s “The Circle Game” and 1970’s “Big Yellow Taxi,” featuring, wonderfully, a attenuate achievement from Mitchell herself.

Despite the advance through the years that the accident was, however, Mitchell is far from done. “I appetite to get a baby applesauce admixture — which would be Wayne Shorter and Herbie Hancock and Larry Klein on bass maybe — and cut some standards,” she tells Rolling Stone. Back asked what she’d best like to cover, she smiles wide, clumsy to stop herself from singing a atom from a clue by Lambert, Hendricks & Ross, a admired of Mitchell’s over the years. The Joanettes all beam at the suggestion. Then, at the ad-lib concert’s end, she and her wolfhead pikestaff are aerated off into the night.

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