Lindsay Hannon: Tom Waits for No Man @ the Black Swan - May 23

(© Mike Tilley)

Lindsay Hannon (vocals); Alan Law (piano); Paul Grainger (double bass); Brendan Murphy (percussion, old boot & spanner)

Beat generation counter-culture icon Tom Waits appeals to beat generation counter-culture types. Waits' lyrics appeal to a much wider constituency, to musicians and non-musicians alike. In the Black Swan this evening the audience hung on every word, every last syllable of vocalist extraordinaire Lindsay Hannon's delivery of Waits' lyrics. Lyrics largely committed to memory, is there a more accomplished interpreter of the American's songbook? 

(© Mike Tilley)

Christmas Card from a Hooker in Minneapolis opened the show, the song title one of many which could be called 'Waitsian'. Waits' lyrics expose and dissect the underbelly of American society, in the hands, or rather vocal chords, of Lindsay Hannon, vividly painted images were burned into the mind's eye. Assisting Ms Hannon in her endeavours were four long-time musical associates, Messrs Law, Grainger and Murphy. As accompanists, the trio couldn't be bettered: Alan Law's expressive, saloon bar piano playing, Paul Grainger's barrel-straight bass lines, Brendan Murphy's percussion masterclass (old boot and spanner, to boot!). 

(© Mike Tilley)

Heartattack and Vine followed by Picture in a Frame, Hannon singing Nighthawks at the Diner, we were late night barflies in Edward Hopper's Nighthawks. Hannon huddled in the phone booth: Operator, number please (we were eves-dropping on Waits/Hannon calling Martha). Our vocalist apologised to the Tom Waits' fan club for sneaking in one or two non-Waits numbers, including Lieber and Stoller's Tango (first recorded by Peggy Lee) and Jolie Holland's Old Fashioned Morphine. 

Tom Waits/Lindsay Hannon waits for no one. We were tired, it was time to head out into the night. Russell