The radiant Anaïs Mitchell stole the show for me. This was the third Mountain Stage appearance by Anaïs that I’ve attended, so she’s tied with Amy Correia as the artist I’ve seen perform the most times at the venue. She never fails to deliver a captivating live performance, and her set at Mountain Stage last night was no exception. Sadly, I didn’t realize until the concert started that my camera’s batteries were dead. I don’t think you could capture that magic on film anyway.
As I said in my review of her superb new album, Young Man in America (click album title for my review), : “Anaïs Mitchell is like a modern day Woody Guthrie or Bob Dylan. Her epic lyrical narratives echo Guthrie’s masterful talent for blending the literary with the ordinary, while her fierce and unique vocal phrasing as well as her intricately multi-layered arrangements take Dylanesque to a whole new realm.“
Anaïs’ dual role as singer and poet were on beautiful display on stage last night. She always had a charming stage presence, but her on-stage confidence seems to have blossomed over the years. Her “Young Man Band” – comprised of singer Rachel Ries (Anaïs’ Country EP partner), bassist Noah Hahn and multi-instrumentalist Ben Davis – provided worthy accompaniment. Davis’ banjo playing during “Dying Day,” which opened the set, was especially noteworthy.
“Dying Day” was the perfect way to introduce the audience to Anaïs and her new album. It was remarkable how her performance evoked a strong, positive reaction from everyone in the crowd, regardless of age – both the middle-aged man beside me and the little girl sitting in front of me nodded their heads along to the song.
Anaïs and her crew combined brief “Wilderland” and the title track from Young Man in America into one seamless, stellar medley. All of the songs sounded even better live than on the studio recording, but “Young Man in America ” was especially moving.
Anaïs’ plaintive call of “my daddy was a repo man, put me out onto the street, didn’t give a damn for me, did not give a damn!” brought tears to my eyes, and the haunting transition from the song’s final lyric “let me climb back in the bed you made me in” to the gorgeous instrument flourish that closes the song was absolutely hypnotic.
Anaïs’ set wasn’t heavy on banter, but she did talk a bit about her father when introducing the song “Shepherd,” which was inspired by his out-of-print novel The Souls of Lambs. It is her father’s face that adorns the cover of Young Man in America and Anaïs joked about his not wanting to cut his hair so people would recognize him from the picture.
During Anaïs’ emotive rendering of “Shepherd,” I noticed bassist Noah Hahn kneeling down on one knee with his eyes closed and his face turned up toward Anaïs. It seems her heartfelt vocals and musical narratives were as rapturous to the members of her band as to those of us in the audience.
“Tailor,” while not a favorite track of mine on the album, was incredibly powerful live – especially Anaïs’ breathy sighs of “Who Am I?” in the last verse. She then ended her spectacular set with “You Are Forgiven.”
After three brilliant albums and three magnificent live performances, Anaïs Mitchell has cemented herself as my favorite contemporary artist.
Anaïs Mitchell will perform a rare full concert in West Virginia at Lewisburg’s Carnegie Hall on April 14th. I hope to attend and review that show as well, so stay tuned.