(This originally appeared in Soundcheck Magazine)

Ryan Adams
at the Calvin Theater, Northampton
October 7, 2002
with Tegan and Sara

Ryan Adams has been the Next Big Thing in music for the past year or so--ever since around the time of the terrorist attacks, at least--and in that time, he has managed to motivate and ingratiate, irritate and aggravate, inspire and stir up people who love and hate rock, country, and “alt.country.” Some have proclaimed him the second coming of Gram Parsons, a southern gentleman who has breathed new passion and interest into country-flavored rock, while others have branded him as an egocentric opportunist, a bratty punk kid who knew a good scam when he saw it, and is riding it to the bank. The truth of the matter is that Ryan Adams probably lies somewhere in between these two extremes, but, as it turns out, the more favorable of the two descriptions decided to turn up at the Calvin Theater, bringing his stripped-down, stark brand of americana to Western Massachusetts.

Touring in support of his latest album, “Demolition,” Adams first appeared playing guitar on the first song of openers Tegan and Sara, the Canadian sister-duo that plays a slightly more pop-flavored roots music than Adams’ own (cheers to the sisters for expertly handling a drunken heckler in the front row), but he quickly disappeared until his own set began. Showing up in a brown jacket and shirt, with dark pants and his trademark shaggy head of hair, Adams pulled out his acoustic guitar and opened with a new song, sounding like a boyish Neil Young, and leading his band--pianist, violinist, and bassist--through the song. For “Sweet Carolina,”Adams donned a harmonica holder and performed with his violinist on vocal back up. The intimacy of the performance, coupled with the warmth of the acoustics, gave Adams’ songs an emotional resonance even deeper than is found on his albums. After the first couple of songs, Adams relaxed a little bit, lit a cigarette and bantered with the audience about losing his cell phone that day, and having met some fans in the parking lot earlier. He then launched into a solo, electric version of “To Be Young Is To Be Sad,” much bluesier than on the record, adopting classic rock guitar stances, earning whoops and hollers of approval. One could tell from his grin that Adams was enjoying himself, such as when he removed his boot, smelled his foot and made a face, and then played the delicate “The Fools We Are As Men” for the girl he met in the parking lot.

Sitting at the piano, Adams played a cover of the Rolling Stones’ “Brown Sugar,” transformed into a Southern death dirge that was barely recognizable, but nonetheless quite moving. Homestretch efforts included playing guitar along to a record of Madonna’s “Like A Virgin” (just for laughs), a rousing, echo-drenched “Bartering Lines,” “Winding Wheel,” “Sylvia Plath,” (during which he cracked up at his own lyrics) and “When the Stars Go Blue,” the latter three songs featuring delicate, beautiful string accompaniment from his cellist and violinist. Adams ended by putting Madonna’s “Material Girl” on the record player and leaving the stage. He came back to a standing ovation and premiered a strong, vibrant song that was only four days old, featuring a chorus that went “Twice as bad as love.” From “Demolition,” he sang “”You’ll Always Be The Same,” then, by popular request, he played “Rescue Blues” and “Come Pick Me Up,” both exciting in their simplicity. He ended the show by presenting a birthday cake to his violinist and having the house sing happy birthday to her, leaving the stage with a warm wave to the crowd. It was hard to associate tonight’s charismatic performer with the Mr. Hyde so many swear they have encountered...

-Neal Alpert