Re: Richard Thompson, Nov. 8, Lincoln Theatre, DC

I've loved the music of Richard Thompson for so long that sometimes it’s surprising to realize that I have only actually seen him in concert far fewer times than one would expect. He has a 50+ year career, which I’ve been aware of the past 25 years. But I’ve only ever seen him as a solo act, which predisposes my assessment toward his performances as a singer and songwriter, neglecting his deep and justifiably renowned history as a band leader and a rock guitarist.

In concert on November 8th for his recent record 13 Rivers, Thompson was touring with an electric band for the first time in some years, and I made the choice to purchase tickets near the front row to see him as a bandleader. 13 Rivers is a solid late-period Richard Thompson record. That means there are some excellent songs, some enjoyable but not terribly resonant pieces, and a bit of what might be considered filler. He is still unarguablyone of the greatest songwriters in rock and folk music history. But his renown as a composer is rightly shared equally with his mastery of the guitar, so 13 Rivers is heavy on electric guitar solos and brooding, ominous rock songs like “The Storm Won’t Come.”

At the Lincoln Theatre in November, Thompson was joined by what he called his Electric Trio. In the first song, and the next few that followed, there was an undeniably larger number of people than that title would imply. As it turned out, Thompson‘s guitar tech joins them on some of the songs, making a quartet, although no one seemed to complain about the mathematical error.

I found myself both undeniably impressed by Thompson‘s band, as well also reminded that there of always been elements of Thompson’s live performance that mildly grate on me. His band material is fantastic on the heavier rock songs, including both new material and tracks that literally date to the earliest periods of Fairport Convention, his 1960s folk rock ensemble. But he has always been fond of some of the jokier material, which in this particular set included a track called “Guitar Heroes,” which allows him to demonstrate his mastery of the form of guitar played by everyone from Django Reinhardt to Chuck Barry to Duane Eddy, in impeccable mimicry. No one doubts that Richard Thompson is one of the greatest (and most distinctive) guitar players in rock music history, so having him parrot previous masters raises some questions about the additional artistic value that this can add.

But, quibbles aside — what songs, and what playing. And of course, Thompson’s inescapable self-deprecating humor. For a man whose legend was formed in death-and-despair songs in the tradition of the Scots-Irish murder ballads, and who jokes about his own words and music as “doom and gloom from the tomb,” Thompson has always laughed at himself and his music. So he can storm through current ragers like “Bones of Gilead,” or painstakingly finger-pick ballads with the lyrical complexity and character development of a novella, and then glibly encourage his fanbase not to die, since he needs the touring business.

Thompson’s story-songs like “1952 Vincent Black Lightning” (from Rumor and Sigh) and “Beeswing” (Mirror Blue) are now undying standards in the canon, seemingly something ancestral, heirlooms from a deep folk tradition rather than songs written and released in the compact disc era and previewed on late night television. And they’re extraordinary achievements, but to honest, I’ve seen Richard Thompson do those songs numerous times, and what excited me more at the Lincoln Theatre were the old Fairport songs (“Meet on the Ledge,” done as a singalong, and “Tale in Hard Time,” with the unsparingly cold opening lyric he wrote as a 17-year-old, “Take the sun from my heart / Let me learn to despise”) and the fierce crunch of the heavier rock songs. There were also a few of the beloved songs from the Richard and Linda Thompson era, “Dimming of the Day” and “Wall of Death.” Thompson has become adept using his limited vocal range to carry forth the songs once performed by Linda. But of course, there was his inimitable guitar playing to convey whatever his voice could not.

Setlist: [www.setlist.fm]

He's at a stage in his career where he could just play the old favorites and sprinkle in a recent song here or there. I'm glad to see he's including a substantial selection of newer material - it's both a show of confidence in it and a reminder that he's no nostalgia act. Admittedly, I haven't really loved a RT album since Mock Tudor, but I buy every album he puts out, since there are always some gems.

You know, I'm kind of the same way. I've been a major fan since 1986, when I bought Daring Adventures based off a Rolling Stone review. But I could count the number of times I've seen him play on one hand. Most recently a pal of mine and I drove to San Antonio (he usually skips Austin, alas) to see him open up for Wilco solo acoustic. (We left after his set.)

Sounds like a "typically excellent" R.T. show. I've been a big fan since Shoot Out the Lights, but I've seen him perform just three times -- twice with his electric trio, and once solo (all since moving to Seattle). He is definitely one of music's great triple-threats: an ace songwriter, a remarkable guitarist, and a distinctive, potent singer.

When I saw him last, his trio included Davey Farragher on bass (taking a side trip from his usual gig in the Imposters) and Michael Jerome on drums. Same support this time around?

Much as I love "1952 Vincent Black Lightning" and "Beeswing," I agree that those songs have been played plenty of times. I mean, holy jeez, look at this man's catalog of songs. He could put a big list of his songs on the wall each night, throw twenty darts, and come up with a setlist that still buries the competition, night after night. Totaji said it best: Unlike some band that's just plain expected to play its pop hits (The Outfield, for example), Richard Thompson shouldn't have to play anything he doesn't feel like playing. And he can retire the singalong "Tear-Stained Letter" without any tears from me.

I've seen him twice with a band (an ACL taping on the Mock Tudor tour and an ACL Festival show a few years later) and twice solo acoustic (including in Austin's tiny Cactus Club on the Rumor & Sigh tour. He rarely comes to Austin, for some reason, even though this is a songwriting/guitar wizardry type of town.

Oh, I also saw him do a SXSW songwriting panel a few years ago. He talked about the craft, played a few songs along the way, and closed the discussion with "1952 Vincent Black Lightning." I was on the front row so I could watch him up close. It was astonishing. I'm a pretty poor guitarist, but I at least usually understand what someone's doing, even if it's miles beyond what I'm capable of. For that song it looks like he's just randomly moving his fingers around the neck, and yet it's incredibly precise. I could feel every guitar player in the room (which was most of the audience) quietly contemplating putting the instrument in the back of the closet while watching that.

If my memory serves me correctly, he was also the fourth interview I'd ever done in my life when I was starting my music writing "career." He was already a hero of mine, and I jumped on it without thinking when it was offered to the writers of the mag I was working for at the time. (It was the Rumour & Sigh era.) It was only right before he was picking up the phone that I realized "Holy shit, this is the guy who wrote 'Shoot Out the Lights.'" I was kind of awestruck at the start of the conversation, but he gently reminded me that we had only 15 minutes and we needed to move forward, and I snapped to and asked my first real question. It went very smoothly after that. He was friendly, witty, open and erudite - exactly what you'd expect from a conversation with Richard Thompson.

Hmmm. Going to Big Ears Festival and Thompson is playing his KIA [Killed In Action] suite with the Knoxville Symphony Strings. Was considering attending even though I have never heard the first note of Thompson's just because I've been reading about him ever since I was a teenager. And I'm pretty old now.



Former TP subscriber [81, 82, 83, 84]

[postpunkmonk.com]
For further rumination on the Fresh New Sound of Yesterday®

Thanks for all the reactions. I was mostly excited to see RT leading a rock band; I have seen him in several solo acoustic shows, although not for a few years, so I wanted to see him rock out. I do find his self-deprecating humor entertaining. But every RT show has at least one extended joke song, and I could do without that.

I've never seen him do "Guitar Heroes" live, but on record it's definitely a drag. I tune in to RT to hear him play like him, not imitate other players.

I'm sure I already wrote about seeing a private-invite acoustic set that was a peak of my RT fandom. That said, I don't think any of his lineups/setlists have matched the Gregson/Collister tours. Always great though. Several of the last few albums have been great - I rank Electric [double version] and 13 Rivers in his top 6 studio albums. Though the live ones are as important and would rank:
Faithless
@BBC
RT - The Life and Music
Shoot out the Lights Live
Live Warrior

Another artist that is much easier to "get" in person.

Anyway, the review was great.

NP: Deerhunter - Why Hasn't Everything Already



Post Edited (02-22-19 00:24)