It’s hard to believe that Ryan Adams is only 40. His legend is great and his back catalogue more extensive than most, regardless of age. Much has been said about the enigmatic alt-rock-country star over the years – some true, and some embellished.
But whilst his relationship with drugs and alcohol may have been overblown, his talent is undeniable. ‘Heartbreaker’ (2000) and ‘Gold’ (2001), were his two most acclaimed records but, fifteen years since his debut solo foray and its stunning follow-up, Adams still strikes a balance between rock, country, ballad, and ball-tearer. It is for this reason why seeing him performing a solo set is so intriguing. How will his deeply produced songs stand up in an acoustic setting?
A solo show removes the crutch of a band for musicians to prop themselves up with and can either be a raging success, or expose the artist as second rate. Adams’ show at the Sydney Opera House’s Concert Hall proved that his career has not been carved out through fluke or his prolific nature, beating his detractors over the head with continuous content, but because of immense talent as a songwriter and rich vocal repertoire.
“I’m sorry I’m late,” said Adams unapologetically after striding onto stage 15 minutes after the scheduled 9pm sharp. “I was trying to find my mind. I guess I’ll do the show without it,” he continued met with muffled laughter as some audience members shifted in their seats. Was it a show of fragility from Adams? The crowd was, after all, just warned not to use any sort of flash photography, “at the artist’s request.” Adams has been known as a bit of a brat in the past and so people were a little on edge.
As soon as he launched into opener ‘Oh My Sweet Caroline’ with strong vocals and harmonica outro, it became clear that Adams was on form and the next two hours were going to be something special. He switched positions for different songs, standing and strumming, sitting and picking, or playing piano all the time cursing his, “camouflaged harmonica,” which was never in the same place he left it.
Effective guitar and voice dynamics were the most memorable moments of the show. When singing, his highest notes were also the softest and longest – a difficult technique. Adams’ barely recognisable piano version of New York, New York proved that the evening was about showing his prowess in arranging music to suit a mood, utilising his incredible voice. It made everyone forget about the ‘recorded’ version of his works and settle in to their seats to for relaxed mystification.
Often noting that his songs generally delve into the morbid themes, Adams’ interaction with the crowd was an unexpected streak of brightness. His return quips to what was, in all honesty, a weird crowd (consisting of fanboys, couples, and old drunk lonely people), was perfectly timed and did not feel contrived or nasty, just clever.
One over enthused audience member displayed what looked like a homemade sign with tiny LED lights attached, arranged to illuminate ‘Ryan’. Happy to draw attention to the bizarre moment, Adams ceased his only heartfelt soliloquy for the evening to say, “oh my God what is that!?” It was a genuinely funny moment which had everyone searching for the peculiar perpetrator.
There were many highlights from Adams as far as crowd banter goes. When asking his stage manager if he was, “legally,” allowed to do two more songs, one front-rower shouted that she was a lawyer and he could. “Yeah, I’m a lawyer?…did that actually happen?” asked a perplexed Adams.
His grumpy persona was demolished as admiration and adoration ensued. The cover of the Foo Fighters’ ‘Times Like These’ was well timed as he admitted to being humbled by playing in such a special arena with such an attentive crowd. During the show he proclaimed, “I’ve got too many songs, I’m running out of RAM,” so a cover was surprising but it was well received.
Adams’ long mop hair covered much of his face throughout much of the set as he played through songs predominantly lifted from his self-titled record of 2014, ‘Ashes and Fire’ (2011), and ‘Gold’ but it was the tracks from ‘Heartbreaker’ which drew the largest applause. Closing with the uplifting yet traumatic ‘Come Pick Me Up’ was a masterstroke was hummed by many as they left the auditorium.
The show was an utter triumph – interesting, generous, skilful, and funny. Adams has had his fair share of gloom over the past two decades, but it is playing music to his fans which keeps him settled. His sincere recognition of the standing ovation as the house lights were turned up sent shivers through the spines of those paying attention.
Adams left everything on stage during his solo acoustic performance and all those in attendance were grateful. The mysterious backlit man with the denim jacket and shaggy hair revealed himself as someone who needs to play his, “songs about people dying,” to keep himself content. Adams is a modern legend not to be missed if the opportunity arises.
Photo credit: Dan Boud
