Anticipation was high for Bonny Light Horseman – now with three albums to their name and with this year’s “Keep Me On Your Mind / See You Free” being to all intents and purposes a double album, their repertoire has expanded and evolved without ever losing touch with what it is that makes them magical in the first place. Anaïs Mitchell and Eric D. Johnson have a distinctive and truly delightful harmony going on, and Josh Kaufman continues to mark out territory as one of the versatile and imaginative guitar players on the scene. So, anticipation was high – would they be able to make the Roundhouse their own? OK, spoiler alert, yes, most certainly yes. What the band, along with drummer J.T. Bates and bass player Cameron Ralston, would achieve was nothing less than a strong contender for gig of the year.
Bonny Light Horseman came on to ‘All the Tired Horses‘ and, having acknowledged the crowd and made a declaration that they’d be singing “600 songs” launched directly into the soft and gentle folk-rock of ‘Keep Me On Your Mind‘, leading off with the breathless intensity of Anaïs Mitchell’s vocals – soon to be joined by Eric D. Johnson’s splintered timber vocals. Beautiful – and then beautifully reversed as Johnson led off on ‘Lover Take It Easy‘, decorated with familiar folk idioms of a meeting down by the waterside, ‘Down by sally gardens, young and wild and free.‘ And early on we have a band perfectly in tune with their music – Johnson’s right arm drawn skyward as his vocals soar, Mitchell’s left leg pumping the time as she loses herself in the lyrics of ‘The Roving‘ and Josh Kaufman everywhere and nowhere – never in the wrong place, never intruding, but adding the perfect accompaniment mostly on guitar but harmonising when the song needs it. It’s a blissful sound – and wonderfully clear and precise even in this large space.
And the large space was alluded to by Eric Johnson as he strapped on his banjo, with the cheered comment that “this was their first stand up gig in London for a minute” whilst noting that the last was when “we played The Lexington in February 2020…not much happened after that” which got a reasonable cheer as well – clearly a good number of the 100 or so who had been there that night were still following this Horse. And when they launched into the Laurel Canyon-ism of ‘Exile‘ you’d have to ask yourself “why would you not?” It showed the band’s multifaceted approach, drawing on centuries of traditional music, touching on a magical vibe of multi-layered singing coupled with an attractive optimism and then anchoring it all right here in the 21st century.
Someone is given, every decade or so, the role of redefining folk – and whilst that isn’t always what Bonny Light Horseman are busy doing, when they take hold of a song like ‘Blackwaterside‘ they achieve that perilous peak – the making of a sound that is such perfection that it becomes a waking dream. And with the banjo back in play they can move in an instant from being the perfect interpreters of English folk to a definitive American folk band – ‘Hare & Hounds’ is a good example of this, and ‘Magpie’s Nest‘ is an even better one.
This is also a band that has no qualms about singing predominantly of love – as if love could ever be an inappropriate topic. ‘Your Arms (All the time)‘ is boldly sensual, warm enough to melt any heart. But, of course, of course, this is not all they are about – take ‘Tumblin’ Down‘ where love might be failing, but could it sound any better than being carried on Josh Kaufman’s Byrdsian country-rock licks? A sound so beautiful that Johnson comments at the end “that may have been my favourite time of playing that song – in case you’re taking notes.” It really was that good, and notes were taken. And if ‘Rock the Cradle‘ gave an appreciated opportunity to sing along, then ‘Fleur de Lis‘ just glistened with the lightness of the harmonies before burning brightly with Josh Kaufman’s perfect slide guitar coda.
This was no brief stage stint, it seemed almost possible that we really would get that full 600 songs. Alas no, but ‘See You Free‘ was as full of hippy dream as anything by CSN that it was impossible not to briefly think of them – two beautifully harmonising voices and a lead guitar that was truly electric: inspired and loud and just a perfect frame for Johnson and Mitchell. And then ‘California‘ with perhaps the greatest melody line of the evening – a big claim – and certainly a perfect next step. And again that feeling…was this really happening? Does music really get this good – with musicians playing off each other with a joyful abandon, coming together in huddles, backs to the audience and then turning, game plan in place, and dazzling every time. And surprises – like on ‘When I Was Younger‘ as Eric and Anaïs go to the front of stage and primal scream their pain and regret whilst Josh Kaufman’s guitar rips through the song like a chainsaw. Unbelievable.
The main set closed out with their namesake song, a reimagining and reshaping of a song so familiar but still takes new life and shape in their hands. Substantial cheers brought back a far from reluctant band – that they know they can do no wrong doesn’t make them cocky, they’re revelling in the music they make and that joy of playing and singing is so easily communicated to the audience. Why would anyone want to stop? Eric’s singing on ‘Deep In Love‘ sent passionate waves out into the crowd, soulful and earnest in a very good way. And, if it did all have to end, could there be a better and more appropriate choice than ‘Cold Rain And Snow‘ that offered a last glimpse of all that had been so good all evening, and which of course asks for a last time “do you love me?” Guys, do you really need to ask?
Opening support had come from Bridget Kearney, a New York via Ohio singer-songwriter with songs focused on modern angst – such as having to listen to her neighbours’ loud love making. Unusually, she accompanied herself on a Hofner bass. It was a nice enough sound, but her short set really took off on the last couple of songs. These benefited from the addition of J.T. Bates on drums along with Bonny Light Horseman guitarist Josh Kaufman. They helped to make ‘Obsessed‘ – with it’s key question of “How did I get so obsessed with you?” – into a bopping love song with fiery guitar stabs from Kaufman. A great way to close the set and a reinforcement of the old adage to not miss the support.
