Pockets of patrons within the audience at the Lexington Opera House last night let out a chorus of groans when Justin Hayward remarked how his favored decade within a 50 plus year tenure as a member of the Moody Blues was the 1980s. His reasoning? Simple. “That’s the period I can remember.”
Truth to tell, the storied repertoire of his fabled band – “The Moodys,” as he tagged his mates – made up only half of this engaging 90 minute performance. As this was a performance billed under his name, Hayward, 70, balanced ‘60s, ‘70s and ‘80s tunes from the past with comparatively newer material cut as a solo artist. In doing so, the performance featured not a band but a pair of accompanists – guitarist Michael Dawes (who also opened the evening with a set of layered, percussive instrumentals that recalled Michael Hedges) and keyboardist/harmony singer Julie Ragins.
Such a configuration understandably gave the program a lightness that both suited Hayward’s voice – still clear in tone but a touch thinner with age – and the material itself, which leaned heavily on ballads. Among the more arresting solo entries fitting this bill was 2013’s “The Western Sky,” a song that recalled the more modestly sentimental flair of the Moody Blues’ early ‘80s music. But the show stealer was 1978’s “Forever Autumn,” a tune paired down from its orchestral blueprint version on Jeff Wayne’s “War of the Worlds” adaptation into a bittersweet folk-pop reverie.
Initially, the Moody Blues songs sounded a touch safe. “Tuesday Afternoon” and “Lovely to See You,” both dispensed with early in the show, were presented in swift, truncated versions. But in the biggest back catalog surprise of the evening, “Watching and Waiting” (the finale tune to what arguably remains the band’s finest album, 1969’s “To Our Children’s Children’s Children”), the dark melancholy of the Moodys beautifully emerged.
Hayward’s signature tune, 1967’s “Nights in White Satin,” closed the set. If there was a career hit one might suspect would be given perfunctory treatment simply by the fact the song has been performed so often, this would be it. But Hayward fully invested himself in this lean trio arrangement. With Dawes recreating Ray Thomas’ familiar flute solo on steel string guitar, Hayward’s voice sounded strong and assured, making the work sound not just valid and emotive, but unexpectedly youthful.