The queue at the merchandise table gives sufficient proof of the popularity of Gregory Isakov in Ireland. Having played in Dublin on two previous occasions this return visit is greeted with great enthusiasm by the sizeable crowd that turns out at the National Stadium venue. Given his shy nature and low media profile, it is heartening to discover so many advocates for his music and there is a genuine electricity in the air as Isakov appears with his 5-piece band. The dimly lit stage is reflective of the artist’s tendency to shun the spotlight in favour of the ensemble of fellow musicians, all of whom are very accomplished players. His self-effacing wit and wry sense of humour are captured in the tale he relates of phoning his Mum earlier to tell her that “I’m playing in a stadium.”
Isakov appears genuinely surprised with the turnout and thanks the audience on a few occasions over the next two hours of performance. He remarks on the silence between songs and reflects that he finds comfort in it rather than awkwardness. It doesn’t last too long however as a number of die-hard fans begin to shout out song requests and inane comments, coupled with annoying whoops and yee-haws in some bizarre form of quasi-support. The usual array of raised arms with mobile phones is also an unwelcome distraction and all too prevalent at gigs these days. However, these gripes apart the beauty of the music provides an intimate glimpse through the keyhole and an appreciation of the reflective writing that defines Isakov.
His base in Colorado provides ample scope for his farming activities among the local community-based agricultural collective. Given his closeness to the land it’s no surprise that nature feeds into his music and gives credence to the soothing songs that he creates. Relationships dominate his writing, whether formed with other people or in the many ways that we commune with nature. Tonight he delivers a set that spans a number of his releases with a focus on the most recent albums EVENING MACHINES (2018) and APPALOOSA BONES (2023), both of which are featured with five songs each. The Weatherman (2013) provides four songs and there are a further three songs included from THIS EMPTY NORTHERN HEMISPHERE (2009).
In total, there are twenty songs performed, including three encores, that leave the enthusiastic audience chanting for “one more song.” Old favourites such as San Luis, Amsterdam, Big Black Car and Master and A Hound are played alongside new songs like Miles To Go, Watchman, The Fall and Before the Sun. All songs are received with a warm reception and the seamless interplay among the musicians heightens the song dynamics in impressive fashion as Isakov subtly teases increasing levels of nuance and skill from his band of brothers; Steve Varney (banjo, guitar, harmonium, piano), Danny Black (guitar, keyboards, lap steel), Jeb Bows (violin), John Paul Grigsby (bass) and Max Barcelow (drums).
As the final encore concludes, Isakov goes to each of the players in turn and tips his hat in recognition of their contributions. His music has a timeless quality, restrained and reminiscent of quiet calm in its resonance. If you have yet to be introduced to the music of Gregory Alan Isakov then many treats await you. A refreshing reminder of the superb music that is circling above us on the airwaves and in the ether. Promoters MCD deserve great credit for bringing such talent to our shores.
Review and photo by Paul McGee
