Live Review
Cara Dillon – Parr Hall, Warrington
Frills free, acoustic and light percussion pairing, The Lost Boys are initially timid as they seek to harness the intimacy and the consistently good acoustics of this homely hall. Despite the boldness of its title, opener ‘Jesus Drives A Rolls Royce’, lacks consistency between the subtle percussion, the blues leaning folk based vocals and the slow winding acoustic guitar.
The communication of the ambitious lyrics needs body behind it. Despite clear, yet searching vocal delivery, the song needed to be fattened out, as it creates a lonely slightly limp echo. A slow building up of the tempo and a bluesy hue embellishes ‘Mr Broke’, emboldening an earnest set and a more robust instrumental element helps the bracing ‘Tapestry’, find favour.
A judgement reserving crowd starts to show more appreciation when the percussion takes on little more life towards the conclusion, complementing the vocals. Continuing in this vein will help The Lost Boys find new followers, but in brief sets they need start capturing an audience’s attention from the start.
A whistling flute inclusive backing band of three routinely comes into view waiting loyally for the understated entrance of Cara Dillon, who is one of Ireland’s most universal folk protagonists. It is almost as though Cara is too humbled at receiving applause for merely entering the stage. However, she graciously accepts it after her rootsy, clearly projected beginning that includes a snippet from next year’s 4th album, in the form of ‘Johnny Love Johnny’ that shows a continuing playfulness in her work.
The leading lady’s ability to switch tone and emotion sets off a range of facial expressions from the audience that is drawn from a wide demographic.Going from intrigued, to contented, empathetic and then illuminated, as quickly as Lewis Hamilton goes through the gears at Silverstone.
‘Black Is Colour’, bears out a deeper and darker lyrical edge and a deeper tone contrasts with the usual clear, well-pitched vocal stroll. A plea for audience participation for a comforting reworking of the Tommy Sands classic ‘There Were Roses’, is met with an initially nervous response. It soon grows into a warm choral recital as the tone, hymn-like nature and friendliness of the number builds up.
Pastoral Irish imagery decoratively litters the set. A Gaelic jig, ‘Knotted Hanky’ sees Cara’s fiddling prowess coming to the fore. Throughout the seventy five minutes in view, she demonstrates an appreciation of her home country without ramming it down the throat of the audience.
Endearing between song storytelling, promotes a genuine feel to proceedings and the inter-song chemistry between Cara and her husband/guitarist/pianist and tour manager, Sam Lakeman draws out warmth and heart. Enough to make people forget about the strange smell that is lingering around the venue, probably leftover from The Charlatans visit here three nights earlier.
A colourful, almost Riverdance inspiring parade, ‘P Is For Paddy’ has minds dancing at least, as the wholly seated setting prohibits much physical movement. Although, chairs do start sway, even those on which the stern looking connoisseurs are placed.
The lady who has been blessed with the honour of broadening modern folk’s appeal, whilst at the same time, appreciating its roots and traditions, continues to carry out this honour with enthusiasm and humility.