Carole King concert is like an open house

Carole King welcomed thousands into her living room Thursday at the Greek Theatre, creating an intimate vibe that immediately captivated her fans. For two hours, the veteran singer-songwriter plumbed her extensive catalog of hits yet emphasized more recent works, gently demonstrating that after 40-plus years, she’s still breezily capturing sincere emotions without resorting to cliche.

The stage was set with a sofa, chair, coffee table and rug -- a place where friends might share laughs, tell tales and reminisce. Which is exactly what King, 62, did over two sets ranging from her 1962 hit “It Might as Well Rain Until September” to the title track of her 2001 album, “Love Makes the World.”

Abetted by musical director and guitarist Rudy Guess and Nashville singer-songwriter-guitarist Gary Burr, the sparkling and witty King, on her first concert tour in more than a decade, banged expertly on the piano and played guitar with her cohorts. Daughter Louise Goffin sang on “Where You Lead, I Will Follow,” a romantic ballad from King’s 1971 mega-hit “Tapestry,” updated to reflect mother-daughter devotion as the theme to TV’s “Gilmore Girls.”

“Tapestry” was groundbreaking, heralding the ‘70s singer-songwriter era, but King established herself in the ‘60s with timeless tunes co-written by her first husband, Gerry Goffin. A medley of such numbers -- “Chains,” “I’m Into Something Good,” “The Loco-Motion,” “Will You Love Me Tomorrow?” -- was inevitable, a highlight underscoring that team’s adeptness with many pop styles.

Older songs -- a poignant “It’s Too Late,” a rollicking “I Feel the Earth Move” and a yearning “So Far Away” -- provided memorable moments. Yet newer selections proved equally affecting, including the passionate “Lay Down My Life” and “Love Makes the World,” which, she laughingly explained, co-writers Sam Hollander and Dave Schommer had pitched by rapping the lyrics. She demonstrated a few bars before performing a more typical King arrangement. Even rapped, the tune had a strong melody, and it fit the conversational quality of King’s work -- not far removed from the “flow” of great rap -- reflecting her ability to convey personal exchanges as naturally as friends chatting on a couch.