![]() ![]() Inviting his guitarist brother Bob onstage, childhood memories are artlessly revisited, one of which, Midnight Cowboy, sees the brothers Pernice bow their heads in wistful remembrance. As if to evade the depression that stalks his dour tales, Pernice's trail of aliases spans the country-flavoured Scud Mountain Boys, the chamber pop of the Pernice Brothers, a pared back Chappaquiddick Skyline and the folk synthesis of his solo persona, all of which are austerely represented tonight. No brazen toe tapping will disrupt the gentle melancholy wrought on clean acoustic guitar with the merest of embellishment, yet tiny whispers, incongruously loud applause and the insolent clink of ice in drinks routinely infringe on this deceptive tranquillity.Īdrift on an ocean of lyrical misery, Boston's unlikely country pop exponent clings to buoyant melody like a life raft. Joe Pernice's shoes sit obediently beside his chair. This was enchanting music, beautifully played, and it sounded well in this now renovated church. One expects virtuosity and graceful, stylish playing from such distinguished performers, but recordings do not always capture the beauty of sound these period instruments make. What did remain constant throughout this concert was the outstanding playing of Collegium Musicum 90. The intensity of Arne's F minor trio will surprise those who know him only from Rule Britannia, and Boyce's D minor trio, too, has more refinements than one might expect from his orchestral music. There is a difference, too, between the melodic smoothness of the Italian composers and Leclair's idiosyncratic French style, with its plain, folk-like melodies and disconcertingly varied rhythms, and the sturdier style of Handel and his English followers Arne and Boyce. ![]() They knew the drill: be patient and attentive and the hits will come later. He played none of these, but the audience was happy enough to listen to songs from his latest album, The Naked Ride Home. ![]() He's 20 years past his commercial peak, when songs such as Somebody's Baby, Lawyers In Love and Tender Is The Night were massive chart hits. The song wasn't on Browne's set list, but he did it anyway in Moore's honour.Īt 54, Browne looks almost the same as he did back in the 1970s - his face seems a little weather-beaten, but his mullet is still intact. In the audience was Christy Moore, who wrote a song about that Lisdoonvarna festival and recorded a version of Browne's Before The Deluge with Moving Hearts. Here, though, all Browne needed was a stage, a few old (and new) tunes and a rapt audience that well remembered such classic songs as Running On Empty, The Pretender and Late For The Sky. They had to build a runway for Jackson Browne when he headlined Lisdoonvarna, in 1982. ![]()
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