Its infectious refrain, voicing the resignation of a man who canвЂ™t seem to escape the drives of inner demons, echoed throughout the amphitheater as the near-sellout crowd gleefully shouted it with him. He told The Times earlier this year that the bandвЂ™s career-launching hit вЂњS.O.B.вЂќ was his least favorite song on the groupвЂ™s debut album, but turning to it near the end of WednesdayвЂ™s show, he and the Night Sweats proved it was anything but a here today, gone tomorrow novelty. He sent out a plea for romantic and spiritual solidarity with a loved one in вЂњBe There,вЂќ and expressed a message of hope and support for a friend in crisis in вЂњYou Worry Me.вЂќДЇar from simply regurgitating the sounds of half-century old soul and R&B, Rateliff and his band mates bring the musical conversation forward, marrying that vibrant tradition with the drive for self-reflection of the world by the singer-songwriter, a world Rateliff plied admirably in several solo albums, but without much commercial success, before turning his attention to big-band R&B in recent years.

With its regal rock lope evoking both the Band and Van Morrison in their prime - two key influences on RateliffвЂ™s music - the song delivers both a reality check and genuine empathy for anotherвЂ™s struggles. You ainвЂ™t run far enough to say, вЂIt ainвЂ™t gonna get any better.вЂ™ You ainвЂ™t run far enough to say, вЂMy legs have failedвЂ™ вЂ¦ You ainвЂ™t worked hard enough to say, вЂWell, IвЂ™ve done mineвЂ™ You ainвЂ™t gone far enough to say вЂAt least I triedвЂ™ He organically shared the spotlight throughout the show with keyboardist Mark Shusterman, guitarist Luke Mossman, bassist Joseph Pope III, drummer Patrick Meese and his powerhouse three-man horn section: trumpeter Scott Frock and saxophonists Andreas Wild and Jeff Dazey.ДЄ highlight of WednesdayвЂ™s set came midway through with вЂњHey Mama,вЂќ a tough-love sentiment directed at anyone who has felt like throwing in the towel on some difficult circumstance of life: With a voice that can yearn with crystalline purity or howl with guttural anguish, Rateliff is a captivating front man, a commanding presence who nonetheless also is an egalitarian collaborator. beard may look like he should be loading cargo ships at the docks or felling trees in a forest somewhere, but onstage he comes off as a man possessed, in the best possible way. The beefy singer and songwriter with the Smith Bros. Rateliff channels something universal and timeless in the brand of soul music that came to international prominence in the вЂ™60s chiefly from MemphisвЂ™ Stax Records and AlabamaвЂ™s Muscle Shoals FAME Studio through the explosive recordings of Aretha Franklin, Otis Redding, Wilson Pickett, Sam & Dave and so many others. The Denver-based neo-soul collective returned to the Greek Theatre on Wednesday and put forth another evening bursting with joie de vivre, even in songs addressing such challenges as the struggle with addiction or feelings of despair, heartbreak and loss. A precious few see music as a way to channel and disseminate nothing less than a life force through music, a mission that appears to be the raison dвЂ™ГЄtre of Nathaniel Rateliff & the Night Sweats. Some musicians are content to entertain an audience, others seek to illuminate issues or themes close to their hearts, and some are in it chiefly for fame and/or fortune.

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