Bonnie Raitt is an angel in her own hemisphere, that goes without saying - but her audience must have grasped a new meaning to her lyric 'Nick of Time' on Saturday if they were some of the first in their seats. Foy Vance, who I must say I had never heard of, cut a slight figure centre stage in the role of warm-up act for Bonnie. Flanked by his two guitars and softly lit, he began introducing himself and his songs in his heavy Bangor, NI accent. Refreshingly witty with beguiling stories, this 'son of a preacher' is more than just another singer with a guitar - he is that rarity, a whole performer.
With his voice - hauntingly soulful with a vulnerable clarity - he sounded a bit like an Irish-American Rocco de Luca, but I much preferred this guy! His guitar work was quite magical. Throwing his entire body into songs like 'Baillie's Blood' (reminiscent of the plucky southern blues/soul of Howling Wolf), he beat and strummed the guitar like he was getting the best out of a thoroughbred. The effect was strings and percussion all at once, coupled with stool-bound bouncing as if he personally - as well as his guitar - was plugged in and amplified.
During this frantic strumming Vance broke a string, so the second thoroughbred was summoned and quickly tuned by a stage-hand. "Just to prove to you that they are both real and work," he said, unfazed. He must get through whole stables at that rate!
He was just as great at the slow stuff: '15: A Love Song', which he said was penned by his father as a poetic tribute to his mother (referring to the age they got together) was so beautiful and layered that it put the hairs up on the back of my neck. The delicate ballad 'Sweethearts' was yet another lyrical triumph in which his voice reached new heights. My personal favourite was 'Indiscriminate Act of Kindness', a gritty number about a concierge taking in a homeless addict and caring for her - utterly moving and just lovely. To top it all, his storytelling links are wry and amusing, pulling the audience into his bubble.
This guy has been obviously been around, seen much and knows about love, pain, and social injustice. He also knows how to put it all down and sing it out loud with energy - and the results are outstanding. The audience thought so too - even those meandering in late quickly sat down, shut up and listened and loved everything they heard and saw. This night at the New Theatre was two greats for the price of one and the audience knew it and applauded warmly.
Foy's CD 'Live Sessions & the Birth of The Toilet Tour' was available post-show in the foyer and many hung around to get theirs signed by the unassuming small bald chap being escorted through the jostling crowd by a minder. 'Great set man!' one guy called out to him and many appreciative pats on his back confirmed the shared awe. 'To Nadine, love Foy' it says inside the sleeve of this treasured and now overplayed possession.
In honouring her well chosen support Bonnie Raitt stated, "Out of all the acts we auditioned, Foy Vance was the most soulful." You're telling me Bonnie! People - track down this amazing singer/songwriter and go see.
With his voice - hauntingly soulful with a vulnerable clarity - he sounded a bit like an Irish-American Rocco de Luca, but I much preferred this guy! His guitar work was quite magical. Throwing his entire body into songs like 'Baillie's Blood' (reminiscent of the plucky southern blues/soul of Howling Wolf), he beat and strummed the guitar like he was getting the best out of a thoroughbred. The effect was strings and percussion all at once, coupled with stool-bound bouncing as if he personally - as well as his guitar - was plugged in and amplified.
During this frantic strumming Vance broke a string, so the second thoroughbred was summoned and quickly tuned by a stage-hand. "Just to prove to you that they are both real and work," he said, unfazed. He must get through whole stables at that rate!
He was just as great at the slow stuff: '15: A Love Song', which he said was penned by his father as a poetic tribute to his mother (referring to the age they got together) was so beautiful and layered that it put the hairs up on the back of my neck. The delicate ballad 'Sweethearts' was yet another lyrical triumph in which his voice reached new heights. My personal favourite was 'Indiscriminate Act of Kindness', a gritty number about a concierge taking in a homeless addict and caring for her - utterly moving and just lovely. To top it all, his storytelling links are wry and amusing, pulling the audience into his bubble.
This guy has been obviously been around, seen much and knows about love, pain, and social injustice. He also knows how to put it all down and sing it out loud with energy - and the results are outstanding. The audience thought so too - even those meandering in late quickly sat down, shut up and listened and loved everything they heard and saw. This night at the New Theatre was two greats for the price of one and the audience knew it and applauded warmly.
Foy's CD 'Live Sessions & the Birth of The Toilet Tour' was available post-show in the foyer and many hung around to get theirs signed by the unassuming small bald chap being escorted through the jostling crowd by a minder. 'Great set man!' one guy called out to him and many appreciative pats on his back confirmed the shared awe. 'To Nadine, love Foy' it says inside the sleeve of this treasured and now overplayed possession.
In honouring her well chosen support Bonnie Raitt stated, "Out of all the acts we auditioned, Foy Vance was the most soulful." You're telling me Bonnie! People - track down this amazing singer/songwriter and go see.