Jack White spent his early days in Detroit working in a shop where he reupholstered furniture. He's taken a similar approach to his recording career, utilizing his craftsmen skills to coax fresh sounds from timeworn genres like the blues, garage-rock and 1960s psychedelia.

Jack White spent his early days in Detroit working in a shop where he reupholstered furniture. He’s taken a similar approach to his recording career, utilizing his craftsmen skills to coax fresh sounds from timeworn genres like the blues, garage-rock and 1960s psychedelia.

Last year’s Lazaretto, the musician’s second solo album since laying the White Stripes to bed, continued this trend, leaping from fiery blues sendups (“Three Women”) to all-instrumental burners like “High Ball Stepper,” which doesn’t send up garage so much as it takes a wrecking ball to the structure.

White has long trumpeted a love of the past — he could safely be described as a vinyl fetishist, and he’d likely be as adept at recording with Pro Tools software as most retirees, preferring old-school techniques to new-school ease. His most recent efforts, in turn, occasionally sound as if they were unearthed rather than laid to tape in the modern era. White’s concerts, however, tend to be live-wire affairs, built on the frontman’s arsenal of guitar licks and his feverish, overcome-by-the-spirit yowls.

Chicano Batman opens the show.

Photo credit: Mary Ellen Matthews