Ryan Adams in Dublin review: Prodigal son gets standing ovation at mighty Vicar Street gig
A file picture of Ryan Adams. Photography was forbidden for his gig at Vicar Street, Dublin.
★★★★☆
Ryan Adams came back to Dublin, for the first time since 2017, under a couple of clouds. There’s the infamous 2019 accusations of sexual harassment which Adams initially denied and then apologised for, and then there’s last Saturday night in Belfast.
Described by a reviewer as “one of the most uncomfortable, shambolic experiences I’ve ever had”, Adams, who suffers from Meniere’s disease meaning he’s susceptible to fits brought on by flashing lights, left the Waterfront Hall stage after one or more audience members used flash photography. His performance, when it resumed, was “painful” according to another attendee.
Accordingly, warnings were issued: absolutely no photography for the Dublin gig. Adams came out from the wings, dressed like a 1930s politician and sporting a cane, just after eight. Vicar Street was as hushed as I’ve ever experienced it.
Christy Moore would give his leg for such rapt attention. Everyone seemed genuinely afeared they might be the one to upset him and blow it for the rest of us.
Musically, at times, he put on an astounding performance. Accompanied for the most part by his acoustic guitar or piano, the first half of the set comprised of songs from his 2000’s No matter what one might think of Adams, there’s no denying the greatness of a record which sounds like it was penned and sung by the illegitimate child of the sweeter side of Bob Dylan, and Gram Parsons (Emmylou Harris even contributed to it, completing the circle).
His voice, ranging from barely-there whispers to full hollers, is a thing of wonder, and an aching and a gossamer-like stood out if only slightly.
The second half highlights were his own played at the piano and a marvellous closing Sounding akin to Lindsey Buckingham covering seventies Neil Young, the fuzztone rumble of the Velvet Underground’s was played with his merch guy and guitar tech on bass and drums, as was earlier after a decent improvisation while technical issues were sorted. The Ewan MacColl/Pogues standard dedicated to Victoria Mary Clarke, benefitted from having its melody stretched and drawn.
Adams also talked, at length, about everything from Bono punching him in the privates, to the degenerative disease that’s “killing” him. He made reference to Belfast as being “like which contradicted most reports, said he didn’t remember leaving the stage, and stated that in real life, he’s scared of women. I’m paraphrasing here but he claimed that while he’s called a letch, he never pursued a woman in his life.
So is Ryan Adams forgiven? Not for me to say, but he received a standing ovation as culmination of the loving reception a packed Vicar St bestowed on him throughout. The music certainly earned it.
