Ray LaMontagne arrives in Cork as something of a conquering hero. His third album 'Gossip In The Grain' has taken up where his previous successes, 'Trouble' and ''Til The Sun Turns Black' left off, wowing fans and critics alike. By this stage, it's fair to say he's even knocked the crown off Ryan Adams' head as the roots-rock guy most likely to score long-term crossover success.
So, while Cork's theoretically here for the taking tonight, support act PRISCILLA AHN is approaching her gig from the other end of the spectrum. Shuffling her way to the centre stage spotlight, she's charming, but clearly nervous, blurting “this is my first gig in Europe – ever!” before she's even strummed a chord.
This admission instantly disarms the expectant crowd and after a couple of gently introspective tunes, it's clear that young Ms. Ahn ain't merely a ditsy, Californian take on the likes of Adele. Confidence seeps slowly into her laid-back guitar and vocal delivery, as she describes 'I Don't Think So' as “my attempt at being sassy” and then knocks everyone out with the hilarious, kazoo-assisted 'Boob Song'. Decorum prevents your reviewer from revealing too much detail here, but suffice it to say that a girl can get more than she bargains for when she checks out her boyfriend's bookcase.
By the time she picks up a ukelele to sign off with a cute li'l number about lost love, she's won more than a few new fans in this new continent. A quick check on the web reveals an album just released ('A Good Day') on the Blue Note label with collaborators including ex-Beck/ REM drummer Joey Waronker. It may not strictly be Priscilla's hurrah tonight, but if she makes her way through Europe with more performances of this calibre, she'll do herself no harm at all. Consider ears at W&H pricked up.
Priscilla Ahn may not yet be comfortable in the limelight, but it seems RAY LAMONTAGNE is equally reluctant to bask in its' glare. Leading the six musicians from the edge of a wide semi-circle, he seems happy to remain in the shadows stage left and blend into the 'team performance' aspect of his drilled and versatile band.
Despite this unassuming tendency, all eyes are on the unfeasibly tall frontman from the off. A gutsy version of current hit single 'You Are The Best Thing' opens the set and even without the brass and Gospel-vibe backing vocals, it's a fine vehicle for Ray's gritty, charismatic delivery. Crucial selections from 'Gospel In The Grain' follow through. 'Let It Be Me' is built around Eric Haywood's liquid guitar hooks and is the perfect vehicle for LaMontagne's testifyin', James Carr-style vocal inflections. 'I Still Care For You' is arguably even better: its' already windswept feel sounding positively desolate tonight thanks to the swelling drum rolls and the dub-like feel of Jennifer Condos's bass playing.
The momentum could easily flag when the band quietly exit, leaving the towering New Englander alone for a three-song solo set. Instead, the intimacy of the setting merely adds to the intensity of his performance and both an emotive 'Burn' and a truly sublime version of vivid, rustic love song 'Winter Birds' (“the clouds crack and growl/ like some great cat on the prowl”)bring rapturous applause before Condos rejoins him on bass for a turbulent 'Jolene'.
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The rattlesnake percussion and 'Strawberry Fields' mellotron motif introducing 'Meg White' herald the return of the band. It rocks significantly harder than on record and is a nice contrast to the one brand new song unveiled tonight, a mellow and enticing thing named 'Home'. The band's apparent ease with a variety of roots-related styles is demonstrated by songs like 'Hey Me, Hey Mama' and 'Henry Nearly Killed Me'. The former is a rural, farmyard blues as authentic as biscuits and gravy, while 'Henry...' is fork-tongued, swampy blues driven along by clattering drums, lonesome whistle harmonica and Heywood's stinging slide guitar.
Admittedly, stagecraft ain't really Ray's thing. The 'tween song chatter is mostly restricted to the occasional “thank you” and even a stray shout of “Congratulations on your new president!” fails to goad him. It matters little, for LaMontagne's singing voice carries gravitas enough for ten men and the way he tips his head back and simply howls during the rousing, set-closing 'Trouble' is worth the price of admission alone.
They take their time re-appearing for the encore and the crowd are a tad restless before they launch into the sure-footed, funky groove of 'Three More Days'. Another of those soul-enhanced belters tailor made for Ray, its' exultant chorus (“gonna bring it on home!”) would seem to provide the perfect parting shot. He's not quite done yet, though, and the final word goes to the delicate and arcane 'Gossip In The Grain' itself. Priscilla Ahn makes a ghostly re-appearance and does a disembodied duet with Ray across the stage and when its' haunting final refrain winds down, there's a brief moment when you could hear that proverbial pin drop before the roar of applause kicks back in again.
It's the start of a long trek around Europe for Ray LaMontagne, but on this showing there are great nights in store for England and the Continent. We'll leave the last word to the man himself, when - in a very rare outburst after 'Meg White' - he says: “trust me, you know I won't steer you wrong.” In these unstable times, it's heartening to feel you can believe in such words with confidence for once.
(http://www.raylamontagne.com)
(http://www.myspace.com/priscillaahn)
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