There is different lens through which to
view artists like Suzanne Vega. One sees a musician embedded in a nostalgic
memory where timeless songs act as an anchor in a changing world. Another,
bonds with a singer-songwriter seeking to move the dial forward with new
material. Confessions of anxiety were laid bare in the early throes of this
show mindful that a near sold out Symphony Hall audience may have various
expectations. Ultimately unfazed, the experienced Vega found a balanced poise
to steer a performance to a fulfilling conclusion.
An assured stage craft defined
this acclaimed New Yorker flanked by the impressive Gerry Leonard on guitar and
the evocative cellist Stephanie Winters. Together the trio generated sufficient
verve to channel the venue’s celestial acoustics. Some parts rocked in a mild
way; others chilled with a gentler persuasion. Whatever the sonic mood, Vega
injected insightful stories through her distinct north east American brogue.
Strip away the million sellers and a quintessential New York folk singer picks
away, one born in coffee houses and schooled on Dylan, Cohen and Reed.
The comfort zone of older
material eased the set along in the early stages. In Vega’s implicated
words "warming people up for a leap into the unknown." When
songs off the new album were unveiled, the show adopted an alternative sheen.
This peer into Suzanne Vega circa 2025 reveals an artist eager to find a fresh
voice and it gave the overall set a sense of renewed stimuli. Album title track
‘Flying with Angels’ kicked off a consecutive trio of newbies, although
it was overshadowed by the pair of excellent songs that followed. The feisty ‘Speakers
Corner’ was introduced as a much-needed protest song in these troubled
times and this led into the ear catching ‘Chambermaid’ accompanied by
the story of being inspired by a character in the Bob Dylan song ‘I Want
You’.
There were more new songs to come
later after the setting went back in time culminating in a fitting pre-encore
finale. Prior to the two songs many likely came to hear, the trio turned their
hand to ‘I Never Wear White’ in which Vega expressed an
identity. The strength of the two signature songs was undeniable. ‘Luka’ was
introduced as a dedication and took minds back to a place and time. ‘Tom’s
Diner’ has many incarnations and a moderately mellow band driven one
here saw Vega turn on the performing charm to vocally strut across the stage as
the crowd echoed its unmistakable catchy wordless tune.
A slightly unusual encore
followed beginning with a cover of ‘Walk on the Wild Side’ adding a
further New York flavour and ending with two new songs successfully attempting
to bring things up to date. The real impact of this show was the first song
perfecting the art of the introduction at 8:30 and a gentle farewell piece 100
minutes later. ‘Marlene on the Wall’ introduced many to the music
of Suzanne Vega in 1985 and likewise splendidly set an ideal scene 40 years
later. ‘Galway’ from the new album importantly heralded a
songwriter still impassioned to pursue a song writing calling sending folks off
into a Halloween Friday night boisterous city centre.
On a local note, there was no
happier person in the Symphony Hall than hometown favourite Katherine Priddy.
Opening for all of Suzanne Vega’s UK shows was a privilege with a special place
in her heart reserved for a prestigious spot in her home city’s most lavish
venue. Accompanied by George Boomsma on guitar, she wooed those electing to
take their seats early with a faultless display of softly spun folk music. One
day she will own the evening in the Symphony Hall but for now five songs
including the new single ‘Matches’ from an upcoming third album and
a lengthy interval merch queue will suffice.
The old and the new gracefully
collided on a major platform. Suzanne Vega celebrated the past and a
rejuvenated present. Katherine Priddy signalled a bright future.
