A night of murder ballads, neck-bass, and interpretive dance with Sam Amidon

If you’re looking for a night of murder ballads, R-Kelly covers, neck-bass, and interpretive dance, then Sam Amidon is your man. If you’re not looking for any of those things, what the fuck is wrong with you?

During what has been a pretty meandering North Atlantic tour, Amidon stopped at the Iron Horse Music Hall in Northampton, MA on Monday night. He was supported by Rhode Island band Brown Bird, whose set I almost entirely missed due to a scheduling snafu. But their last song, “Cast No Shadow”, was more than enough to grab my attention. No self-respecting, flannel-wearing folkie hipster like myself can resist their DIY percussion style, raucous guitar playing, and all-around incredible musicianship. Their new EP is streaming here http://brownbird.bandcamp.com/ – go listen to it and you’ll see why I’m already anticipating the next time I’ll be able to see them play.

Brownbird – Bilgewater

Amidon came onstage, accompanied by multi-instrumentalist and Upstate New York expert Chris Vatalaro, and began his set with “I See the Sign” (from his most recent album of the same name). Most of the performers I’ve seen usually spend the first song or two gazing into the middle distance or at a spot on the far wall – not so with Sam Amidon. He not only made eye contact with nearly everyone in front of the stage, but also craned his neck to see those sitting at tables tucked away on the side.

Sam Amidon – I See the Sign

We were treated to several delightfully rambling stories, including one about Amidon playing fiddle to accompany Bono and Glen Hansard at a funeral service for R. Sargent Shriver, and several (potentially false) facts about New England. All this in between haunting murder ballads, rollicking banjo tunes, and the bluesiest, jazziest version of “Pretty Fair Damsel” that I ever hoped to hear.

Other high points in the set were Saro, which breaks my heart every time I hear it, and the final song in the encore (the title of which I sadly do not know). It was sung completely a cappella and included a stumbling, arms-in-front-of-face dance characteristic of Amidon’s disarming but incredibly compelling performing style. It was my first time seeing him play; it certainly won’t be my last.