Tickets for this eagerly awaited first of two Dublin concerts on Wednesday could have warned: "Ryan Adams begs your indulgence for his indulgence", but then this shambolic showman's colourful ways are an essential part of his stage presence, writes Joe Breen.
Ryan Adams, Olympia Theatre, Dublin
Throughout the frequently riveting 90-minute plus performance he mused aloud about the value of his performance, the quality of the songs, the state of his dress, his commitment to personal hygiene, while fielding comments and jokes from the packed audience (even the guest list was closed two weeks ago!).
But when he sat down with his acoustic guitar, his electrified Nashville steel guitar, or at the piano, he entered a different place. Gone was the self-doubt and the distractions and we were treated to one of the finest American singer-songwriters around today, exploring songs, known and unknown, with an intensity that was often palpable.
It was risky stuff. You sense that he enjoys walking the tightrope, pushing the songs and himself into new space, while worrying all the while that he has just taken that step too far ahead of his adoring audience. This artistic restlessness has led him to borrow and explore practically every worthwhile influence.
But Adams is now more than the sum of the parts. He has shaped these diverse strands into his music and made them his own. And he has done this through a welter of feverish activity, recording, writing, playing and sitting-in with others.
The Olympia set-list was culled from his solo albums with Gold and the breakthrough Heartbreaker well represented. If last year he was Ryan Adams, the wired rock star, this time he was the lonely singer-songwriter with only, and occasionally, the talents of Ruth and Sarah on violin and cello and Chief on guitar to help out (we were clearly all on a first-name basis).
He distilled songs such as Sylvia Plath, Firecracker and The Rescue Blues into short, compelling stories of love, life and living, using his voice brilliantly to stretch and colour each song. There were, invariably, some slip-ups, but they are part of his charm, and in the intimacy of the Olympia were easily forgiven by the doting audience.
Typical of the man, he gave the last song to impressive opening act Jesse Mailin, whose debut album Adams produced. - Joe Breen
