Blind Boys of Alabama left concertgoers in a state of big-“W” Wonder after filling two-thirds of their set with Stevie Wonder cuts. 

While seven were culled from Songs in the Key of Life, it was Inversions’ “Higher Ground” that closed the Blind Boys’ free June 5 concert on the grassy, breezy expanse of Columbus, Ohio’s, Bicentennial Park. Outfitted with band introductions, solos and a special refrain—“We hope you had a happy, good time”— the track ended the show on a high note. 

The gig, which like all Blind Boys’ engagements left their fans feeling better on the way out than on the way in, had begun 75 minutes earlier with a rambunctious rendering of Key of Life’s “Another Star.” When the seminal album arrived in 1976, the Blind Boys of Alabama had already been around for nearly four decades. 

Formed in 1939 and with a revolving door of membership ever since, the contemporary Blind Boys are centered around Ricky McKinnie, who joined the group in 1990 alongside co-founders Clarence Fountain, who died in 2018, and Jimmy Carter, who retired in 2023. The bandleader and onstage emcee addressed the crowd following the opener and said he was disturbed after watching television back at the hotel.

“We got some serious things going on in these United States,” he said before the band launched in to a couple of Blind Boys standards, beginning with the urgent sounds of “Praying Time.” This led to a funky take on “I Can See” that was so celebratory, it seemed McKinnie, Sterling Glass and J.W. Smith really could see, even though they were led on and off stage, arms on one another’s shoulders, by their road manager. 

Returning to The Key of Life, the Blind Boys pleaded with music lovers to “Have a Talk with God,” a number tailored for the gospel singers as much as their smart grey suits. “Village Ghetto Land” was set to synth strings and four-part harmony with the assistance of music director/guitarist/singer Joey Williams, the only sighted Blind Boy. The entirely secular “Sir Duke,” meanwhile, found the three core Blind Boys dancing around the stage with no concern for what they couldn’t see. 

Between the covers were other Blind Boys standbys such as “Amazing Grace” set to the tune of “House of the Rising Sun” and “Heaven Help Us All,” a heartfelt plea for humanity to embrace its similarities. Backed by keyboards and rhythm section, the Blind Boys presented these songs exquisitely – they were flawless with a sense of in-the-moment joy not often seen on a concert stage.

Just before the encore, Glass took that joy into the audience with another assist from the road manager. As they moved through the crowd, Glass sung, shook hands and danced with fans as he and his compatriots performed a fiery rendition of “I Wish.” When Glass returned to the stage, he removed his jacket, threw it to the ground and continued to dance on his own.

He had a happy, good time, too.