Delaney Davidson – Double Whammy: July 11, 2025 (13th Floor Concert Review)
Delaney Davidson is a well-dressed figure in Noir’ Country Music, as a troubadour he acts in the shadows, alone, in collaboration and as a guiding muse, creating music which reeks of theatre, vaudeville and infective uneasiness.
His kete of exploits have been (and still are) influential, and while his recent effort 2024’s Out of My Head saw him step into the bright(er) lights, tempting fate and fame, he is still the bohemian figure, enthralling all as he preaches his own slightly macabre world view.
I fell in love with Davidson’s mahi on hearing 2012’s Sad But True Vol1 (with Marlon Williams) as a Johnny-come-lately in 2018, the same year I saw him live at another lost Tamaki Makaurau venue The Wine Cellar. Hooked, addicted ever since, I try never to miss a chance to experience his dry witticisms and musical bangers. Fact. The only time I have ever seen Marlon Williams live is with Davidson – perfection in my mind’s eye.
A rarity indeed, Delaney Davidson is usually dominant, unassisted when parading himself on stage, but tonight, as part of his Anniversary Tour (though he has been releasing since 2007, I believe it references his first release on Voodoo Rhythm Records – Self Decapitation in 2010) Yes, tonight, he is accompanied by fellow musicians: Heather Webb – Guitar, Alex Freer – Drums and Mark Hughes – Bass, a star studded cast on stage tonight!
Tom Lark
Tom Lark is Ōtautahi-born guitarist, harmonicist & singer Shannon Fowler, and tonight he is joined by two: drummer James Dansey (Thee Golden Geese) and keyboardist/laptop manipulator/tamborinest James McDonald (Beachware) Shannon Fowler is a bountiful musicians, with a long music tail, a recent Taite Award and a newish album Moonlight Hotel.
It’s gentle, it’s ethereal, it’s very welcoming, as the three create indie focussed folk, with twist of psychedelia and modernist electronica (samples etc) Sublimely Fowler’s gentle picking manner of guitar playing, he plays the first half of his set on an acoustic, before switching to electric, is annoyingly reserved at first. But as he endeavours, and I pivot, I hear the complexities and nuances being created. His accompanying musos act in unison, that’s to say It feels as though Fowler leaves space, for his friends, they actually, all three seem egalitarian on stage in creating the aural beds upon which Fowler narrates.
And while, when Fowler switches to electric, the band’s sound evolves encompassing psychedelic 70’s lead and manipulation (a little bit honky tonk?), raising the energy levels. It is the well-composed songs, lyrically rich voice that is mesmerising, reminiscent of the alt-country voices heard in 80’s/90’s acts like Uncle Tupelo/Jay Farrar/Wilco. Tom Lark created a whimsical, tempered mood in the room tonight, and as it filled, many were drawn forward, wishing to feel their melancholic embrace.
Delaney Davidson
Delany Davidson can’t help himself, always the showman, always inferring the mirth. Four on the floor (stage) seems bent out of character, as does see Davidson in a rock n roll venue, standing, a million miles away from the theatre and speakeasy rooms I am accustomed to. Perhaps that’s why they begin with Back In Hell from his 2010 Self Decapitation album, after some witty banter about dancing, expectations of dancing. Back In Hell sounds depthful, solo Davidson is a diabolic figure, but onstage with fellow raconteurs, he seems free(r) to while still commanding the room, acting with musical frivolity, letting his hair down a little, so to speak.
Bad Luck Man from the 2011 album of the same name, benefits from the band treatment, as an commotion of dark Americana and feisty guitar mahi, energized the audience, four songs in and it is getting apparent that foot tapping is not the order of the ra, his murmuring about being here to dance were deadly serious. The night’s wittism is replete, he asks, and permission is given for it to flow, ever the dandy, ever the provocateur.
And if it were not enough, a fifth member of the band appears, Chris O’Conner (SJD, Phoenix Foundation) as guest percussion, as a live (unreleased – I think) favourite Movin’ On is quickly followed by Please Baby Please from his 2024 Out Of My Head album with it’s large guitar and atmospheric vocals. Already, Delaney has reached deep and shared from his rich musical kete. Now with the addition of O’Conner all manner of percussiveness adds to the sound, washboard included. A song, a treat, Devil’s Right Hand, features from 2014’s Sad But True (Vol.3) much to the crowd’s delight, with other members of the band filling in for absent friends
Ever the caring man, and while there is no incense tonight, Davidson checks in frequently, to allay his concern, fears that the audience are ok. I’m delighted when Windy City comes hither, while the version on Bad Luck Man is convivial, it his live version on 2016’s Devil In The Parlour EP that seems to being channelled tonight, albeit with a full band (perhaps it is the washboard percussion, likely though it is the rockabilly energy, antics and auxiliary mic.
The band, his coequals tonight, are bordering on perfection, each a meticulous part(ner) in Delaney Davidson successfully presenting his taonga in a rock roll show medium tonight. Guitarist Heather Webb adds keyboards to Lucky Star (Shining Star 2018) creating swing, meanwhile Broken Wheel (Lucky Guy 2015) warms the crowd to the ending (almost) with its ethereal vocals and country guitar picking. A quick untrue, and two more, he aptly finishes with another from Sad But True (Vol.3), First There Was, a gentle exit for all, a melancholic departure, a fare ye well.
For almost two hours (many more songs were played tonight) Delaney, Heather, Alex, Mark, Chris, and Rohan, the sound guy, exceedingly delivered, re-envisioned choice cuts from Delaney Davidson’s kete, a delight, a dalliance, a damn good night out.
Simon Coffey
Click on any image to view a photo gallery by Den:
Delaney Davidson:
Tom Lark:
