Bunny Wailer at the Beacon Theater, New York City - December 14, 1997

"He's an original -- we're never gonna see another like him," said a man to his companion and everyone else within earshot after BunnyWailer's Sunday night show at the Beacon. Bunny is the genuine article, and so was his performance. His name is evocative. Neville O'Riley Livingston, his born name, is that of a dignified elder statesman. Delivering short sermons in his expressive voice, he was the sage patriarch. The nickname Bunny? That's the playful, beloved friend exuberantly reaching out to shake and high five every hand offered, all the while singing, dancing and wearing his radiant smile. Finally, the name Wailer. A legendary name. Marley, Tosh,and Bunny -- the three innovators who brought Reggae to the frontlines. Bunny's the sole survivor -- last of the Wailing Wailers, keeper of the flame. Called the quiet and shy one, he's the one who disliked touring (he was last here in 1986). He's creative and courageous -- willing to take onstage risks in order to communicate his message and uplift the audience.

All those qualities were in evidence in an hour and a half show divided into two parts. Bunny clearly wanted to go longer, but was stopped by what he wryly referred to as "the curfew they have imposed." In person he seems surprisingly small (perhaps because his musical statue is so great). Wearing his signature lion's head headband and a sweeping white robe trimmed with red, gold, and green and a column of embroidered images -- Selassie, Africa, the Lion of Judah, a star of David -- down the front, he made his entrance quickly, and sat down behind a drum center stage. He looked like a visiting dignitary (which he was). But one caught flashes of sequins at his sleeves, and glints of silvery boots. Though Bunny looked regal, he had his shiny dancing shoes on, and a big thing planned for later.

He began with a drum chant exalting Jah Rastafari -- a powerful benediction for the evening. Beaming, he rose and opened his arms in welcoming inclusion saying that he saw "all of Reggae's family" in attendance. Then he launched into "Rastaman," "Blackheart Man" and "Armagideon." Time hasn't altered Wailer's rich, unforgettable voice (maybe his aversion to touring is a blessing in disguise, sparing his voice from wear-and-tear). Few artists can match his purity of tone or incomparable phrasing. Recently he said that singers like the Platters and Drifters influenced the Wailers, and that he grew up in a "Churchical" environment. Wailer uses Reggae riddims as a foundation, then moves effortlessly between musical genres (even doing some bluesy scatting). Kneeling, arms outstretched to the heavens, he sang anintensely soulful "Rise and Shine." The band uptempoed, and Wailer began an ecstatic, rollicking "Liberation." The fine band (including a hornsection) provided a strong, rootsy sound; the Psalms, a male trio, added harmonies. He explained "Bald Head Jesus" ("Jesus was a dreadlock Nazarene"), then sang it. When he came to the mid song interpolation of "Give Me that Old-Time Religion," the show nearly stopped. There was Bunny, dreads streaming past his waist, eyes closed, shoulders bobbing, palms outstretched, and voice soaring. Gospel and "Churchical" to the max; the Beacon became a church, Jah B. the preacher. The first partended with tributes to Marley and Tosh including "No Woman No Cry" and "Legalize It." The vibes went up and there was no stopping Bunny; his artful performance built the energy and rode the momentum.

Bunny disappeared; the first part ended. When he skipped back outshouting "move your dancing feet!" and wearing a glittery silver lamesuit with those shiny boots, the crowd roared with delight. Out strut the dancers, and Bunny's Dance Party began. Even when singing serious songs, as in the first half, Bunny marries meaningful words with buoyant melodies and bubbling riddims. When he moves to the dance floor, his special brand of joyous ebullience comes to the fore. He did "Dance Rock," "Rootsman Skanking," "Rock 'N Groove," and "Cool Runnings. "Everywhere you looked people were swaying and smiling. Bunny bopped, didflying push-ups and finally leapt in the air and clicked his heels. Suddenly, houselights came on and the MC appeared. Bunny -- still a rebel at heart -- began another song. But then the stage lights came on. In a performance filled with memorable moments and images, what happenednext was especially memorable and endearing. There was the MC, gently trying to guide Bunny off, while he resisted ("it's only 10:30!"),though finally he surrendered. Then, just before vanishing backstage, heturned back, waved goodbye and shouted over his shoulder, "Until we seeone another again!"

This was a great concert. And as the song goes, "long time we nuh haveno nice time. . ." It was lovely, Bunny. You delighted, enlightened andmoved us. Next time, don't stay away so long.