Midway through the show, Dylan LeBlanc remarked that this was like MTV Unplugged - scary and nowhere to hide. No need to be scared by the Kitchen Garden crowd, but there is certainly no hiding when the place is packed to the rafters with attentive listeners. In reality there was no need for any trepidation as the band put on a monumental performance in how to max out a big sound in a small venue. Even a creaking voice causing more internal anxiety than external detriment couldn’t dampen events. Regardless of your sample size, the quality of full band performance on display this evening rivals anything seen at a venue that continues to push the boundaries of convention. There are many shows ahead for Dylan LeBlanc as the latest album COYOTE hits the road, but just maybe a cramped, appreciative, supportive and magical night in Birmingham will settle in a memorable niche.
This was the second of three rather exclusive England dates on a European excursion heavily favouring the continent. On tonight’s evidence, the scope for a wider reach is immense. Whether or not you have tuned into his work before, the present output is running hot and, putting the ‘little Kitchen’ to one side, is worthy of more populous locations.
You had a sense something special was on the horizon when opening act Jesse Roper weaved across the instrument-laden performing space to announce his arrival as a touring Canadian artist in the UK. His 30 minute set was a bout of vivacious country blues full of expressive movement, lively chat and a bundle of grateful energy. Beyond an effervescent facade was a serious musician given a helping hand in promoting his talent outside a homeland. The opportunity is there to be grasped on this extensive tour and this half hour wasn’t wasted.
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| Jesse Roper |
There appears to be a different band set up for Dylan LeBlanc in the studio than on the road. The former is there to capture for posterity, while the latter is an immersive ‘in the moment’ experience.
From left to right in the jigsaw puzzle of the Kitchen performance space, you have James LeBlanc on bass. Not just a father escorting his son on tour, but a hugely experienced artist in his own right back in Muscle Shoals. One interesting snippet from research revealed he co-wrote ‘Modern Day Bonnie and Clyde’ with Walt Aldridge whose daughter Hannah has made this place her own over the years. Small world, or not!
Next in line saw, in my view, the key player on the evening. For the first quarter of an hour everything the band did went through drummer Eric Lloyd. Setting the tempo is everything and more so when you’re trying to frame a sound in a strange place. Gradually his playing slipped into the background as job done with other sounds came to the fore. He was also in possession of the previous gig’s set list from London and party to an evolving discussion of what to play in this unique setting and format.
Skipping the main man for a moment, we land at lead guitarist Clay Houle from Atlanta Georgia. Control was the key component from this zone and it was wonderfully held. Subtle playing, raising and lowering the sound and occasionally rocking out were all in an evening’s work for this high quality guitarist. Another nugget here is his involvement with The Artisanals; a band enjoyed here both live and on record.
Keyboard brings the touring sect up to full complement bar a single brief, and stunningly, effective interlude. Ian Klin was the player behind the keys adding a deft touch of depth to a sound rich, blended and optimum to the constraints of the venue. A clear asset to what was heard the other side of the line.
As well as a fine songwriter, skilled guitarist, haunting vocalist and all round experienced musician, Dylan LeBlanc grew into the psyche of a unique evening, adding charm, humour and humility, while totally humble that the room was at one. This isn’t always a given at any show so mutual appreciation is forthcoming.
The band adapted well to the request to split their performance into two sets. A common venue move on nights like this. They were well into the groove when the interval came but didn’t take long to re-establish it upon return. Either side of the break, the set time ran to almost two hours including a two song encore. Throw in the opening half hour and a £20 outlay went a long way.
Obviously, the new record, now out a week or so, was the centrepiece of the show with ‘Stranger Things’ and ‘No Promises Broken’ kicking things off. A highlight for me was the slightly funky feel to ‘The Crowd Goes Wild’, an encore number at a previous show, but featuring early on tonight.
Of course, an evolving back catalogue offers much choice with ‘Bang Bang Bang’, ‘Lone Rider’ and ‘Cautionary Tale’ catching the ear. In someway, the set list was secondary to the performance as flexibility and adaptability proved the golden key to a gilded show.
As an aside I last saw Dylan LeBlanc in Bristol in 2017 where a very loud sound and misaligned venue acoustics marred proceedings. While this hasn’t deterred listening to the records, there was an element of redemption felt from how the band dealt with a Birmingham debut in a different setting.
Nights like this are hard to beat. Another notch in the memory chain that may just be a fleeting moment of time. Reflection is fond, but nothing like being in the present. Dylan LeBlanc and band - Kitchen Garden Birmingham 2023 - delivered this feeling.
