Richard Thompson proves master of many styles at the Boulder Theater - Reverb

Live review: Richard Thompson @ the Boulder Theater

Richard Thompson proved master of many genres at the Boulder Theater on Tuesday night. Photo by Ryan Cutler, heyreverb.com.

Richard Thompson proved master of many genres at the Boulder Theater on Tuesday night. Photo by Ryan Cutler, heyreverb.com.

Long may Richard Thompson rule the six string. Perhaps no other artist can shift through so many musical styles as Thompson. Whereas his performance this past summer at the 2010 Folks Festival was all acoustic (and heavy on the English folk) his Tuesday night show at the Boulder Theater, backed by Pete Zorn (guitars, flute, sax, mandolin), Michael Jerome (drums), Taras Prodaniuk (bass) and Joel Zifkin (violin, mandolin), soared through pop stylings, country rave-ups, jazzy introspection, and straight rock.

Thompson is touring behind his latest album, “Dream Attic,” and played the entire record in proper order as his first set. Opening with “The Money Shuffle,” a searing indictment of financial advisers, with lyrics like “Your money is so safe with me / you never met such an honest man,” Thompson was somewhat restrained in his initial performance. His backing band stepped out frequently during the first few songs. On “Among the Gorse, Among the Grey,” Zifkin propelled the dreamlike number with a silky-smooth fiddle solo.

Thompson first really fired up on “Haul Me Up,” starting with staccato chicken picking and then launching into a fierce fingers-a-blazing solo to close the song. His song “Burning Man,” a tribute to the popular festival in the Nevada desert, seemed to somehow bring a part of the madness to Boulder, featuring dreamy, image-laden lyrics like “Out there in the desert air / penguin meets the polar bear.” Thompson noted that the song’s lyrics were based on his past experiences at the event.

Some of the new material seemed closer to Thompson’s English folk roots, such as “Here Comes Geordie,” which had a hint of an Irish jig in the penny whistle played by Zorn. “Sidney Wells” seemed straight out of the best tradition of English murder ballads such as “Long Lankin.” Thompson showcased some of his jaw-dropping talent on the guitar, building the solo to a fierce wail filled with piercing overtones. He closed the first set with the epic “If Love Whispers Your Name,” saying they needed a short break to recharge.

Thompson soon returned and kicked off the second set with “Time Will Show the Wiser,” from Fairport Convention’s first album. It quickly became apparent that though he had stepped out at times during the first set, Thompson was here to jam during the second. “Can’t Win” featured some epic guitar shredding that would make most aspiring guitar heroes weep in envy. Few pickers can alternate flatpicking with fingerpicking in a solo the way Thompson does, and it gives his playing a mesmerizing lyrical quality.

Though the focus of the night was his electric style, Thompson did pick up the acoustic for deft fingerpicking on “One Door Opens” and the jazzy “Al Bowlly’s in Heaven” on which he would play short little fills that showed a precision and emotion few players are able to achieve.

He returned to the electric for the pop-tinged “Wall of Death” and the fierce set-closing “Tear Stained Letter.” Thompson then came back for a three-song encore that left the crowd stomping their feet and cheering for more, even as the house lights and music came up.

Set 1 (Dream Attic)
The Money Shuffle
Among the Gorse, Among the Grey
Haul Me Up
Burning Man
Here Comes Geordie
Demons in Her Dancing Shoes
Crimescene
Big Sun Falling in the River
Stumble On
Sidney Wells
A Brother Slips Away
Bad Again
If Love Whispers Your Name

Set 2
Time Will Show the Wiser
Can’t Win
One Door Opens
Al Bowlly’s in Heaven
I’ll Never Give It Up
Wall of Death
Tear Stained Letter
E: Take Care the Road You Choose
I Want to See the Bright Lights Tonight
Man in Need

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Candace Horgan is a Denver freelance writer/photographer and regular contributor to Reverb. When not writing and shooting, she plays guitar and violin in Denver band the defCATS.

Ryan Cutler is a Denver photographer and a new contributor to Reverb.

  • http://www.gonzoshots.com Lewis

    Killer review Candace, you know your RT well (chicken pickin, Iuv it). Sounds like the same show I saw in SLC the night before, just curious was the show sopld out? Did he tell his incredibly witty kokes between songs?rnrnThanks for a great write up, I will do a link back to your fantastic review.

  • Poor Little Bitching Boy

    Hey Lewis Dude, I was at the SLC show too. I just wish there had been a Set 3.

  • Soldout

    I must be the only person who feels RT ran out of steam after “The Old Kit Bag.” That album lit my fire but nothing he’s done since has had the same effect. I saw this show in SF when he recorded the new album. I’d like to see him throw a monkey wrench in the mix like he did with Mitchell Froom.

  • Randy199

    Sounds very much like his show at the Cain’s Ballroom in Tulsa on Oct. 7th. I’ve been a big RT fan for 30+ years, but this was my first time to see him perform live. I was fortunate to have had a front row seat and I was totally mesmerized by his stage presence, energy, and particularly his guitar playing from his opening note to the end of the last encore. I’ve seen a lot of great guitar pickers at various shows through the years, but I have to say that RT’s performance in Tulsa was the single greatest display of guitar skills that I’ve ever witnessed by anyone in my life. I also got a chance to meet him briefly after the show and he graciously signed a couple of CD liners I’d brought along. The whole evening was just an unforgettable experience in every way!

  • Poor Little Bitching Boy

    Hey Soldout, maybe you’re the one who ran out of steam. The recent CDs are just fine. Try to seek help.

  • Soldout

    Nope, I have plenty of steam. Parlour Ballads was the worst RT release ever. Worse than HTHF. After that it’s just more reworking of the same tired and true ideas. Then there’s the 1000 years of pretention, and it’s Whoops He Did It At All cover, which I’m sure you call out for at every show. ;)