It you’ve forgotten how good a guitar player Nils Lofgren is or for that matter how good a singer and songwriter he is, you should take in his latest Acoustic Duet show. Many probably don’t realize the depth of talent Bruce Springsteen’s guitar player possesses. But Lofgren has been around since his teens in the late 1960s and has continued to create a catalogue of classic rock tunes on a string of creative albeit somewhat overlooked albums.

When I noticed Lofgren would be playing at the Ridgefield Playhouse in late June, I quickly scooped up tickets for a venue I like a lot and an artist I had never seen in a solo atmosphere. Although an ardent fan, I didn’t know what to expect from a solo show. I figured a couple of acoustic guitars and Lofgren weaving through his most memorable compositions with perhaps help from one of his brothers. It was anything but.

He’s on acoustic for much of the night, but it has big, embellished sonics by his use of a number of effects that give it a rich texture, with chorus- and doubling-style layers almost sounding like a keyboard at times. Before he gets to it though, Lofgren comes out and plays a tune on electric harp, and he’s very musical on the unusual instrument, then rips into Too Many Miles with a Stratocaster that rocks the house, accompanied by the remarkable Greg Varlotta on electric keyboards.

Lofgren’s voice is in fine shape, his guitar playing on electric and acoustic impeccable and you appreciate, even more in this live setting, his wonderful songs. He winds through a 43-year career of tunes, including Share A Little from the classic Cry Tough album, Everybody Wants, the poignant Keith Don’t Go, accompanied by a story about how he came to write it, You, the beautiful Girl In Motion, Black Books, a tune chosen for one of the Sopranos soundtrack albums, Goin’ Back, the early The Sun Hasn’t Set On This Boy Yet on which Lofgren plays piano, the truly inspring Dream Big, Stay Humble, No Mercy and We Miss You C, a tribute to Clarence Clemons, E-Street Band member who recently passed, among other tunes.

No Wonderland, Across The Tracks or Cry Tough, three of my favorites, but that’s a minor complaint.

Varlotto also sings, plays trumpet and acoustic guitar and remarkably does a tap dance at the back of the stage playing the percussion part from Mud In Your Eye, also Cry Tough, that is exhilerating. Nils later does some tap as well.

Lofgren closes with an electrified Because The Night, written by Patti Smith and Springsteen, and it gets the audience up and rocking with the help of a little electronic percussion used tastefully.

The lingering impression about this show is its creativity, how it continually surprises the audience with a different type of solo experience, and an uplifting mood, which is transmitted through many of Lofgren’s lyrics. I frankly never realized how many inspirational songs he’s written. Inspirational, not in a spirtual sense, but in a genuine human feeling sense.

Also, don’t forget you get two hours of his individualistic and virtuoso guitar playing. He uses a hybrid thumb, pick, and fingers approach, utilizing finger-touching lightly on the strings up high on the neck that produces harmonics and pure tones tinged with harmonics. It’s a trip just watching him approach each tune, often using his guitar as a percussion instrument, and each solo, always imaginative and intricately developed.

I knew he would be good, he’s a giant talent. But I never imagined what an interesting and unique type of show Lofgren puts on. The highlight of the year so far. See him live. It’s an extraordinary experience.