Gregory Alan Isakov, The Mash House, Edinburgh

Gregory Alan Isakov, the Colorado-based folk singer songwriter, has filled The Mash House with many fans. Before the gig, there is much chatter, often in a transatlantic accent, about his strong reputation in the USA. We are here to find out what the buzz is about.

He begins the set alone and is joined on the small stage by his band, including banjo and violin. His set begins to take shape around the third song ‘Big Black Car’. He has the traditional look of the solo folk bard with a fedora and a five o’clock shadow. His soft tenor voice fills out a gentle ballad with touches of nostalgia. His lyrics contain some gems, for example, evoking a stroll with his love through a carnival

“All we knew of home was sunset and some clowns”.

Although Isakov tends to shy from centre stage, preferring being a back in the dimmer parts of stage right, he engages with the audience in an easy way. After only a few songs, he asks for requests and this leads to the rest of the breaks being filled with boisterous shouts from the audience which he clearly enjoys as he tries out his own version of the Scottish accent which is more authentic than most attempts in US TV shows.  

Now comes a stand-out song as Isakov asks for the stage lights to be turned off completely so they can play in the dark. We don’t quite get this but instead a very low red light washes the band as they play ‘The Universe’. Isakov uses a microphone that mimics the slight distortion of an old radio and the room hushes in an intent concentration.

Finally, it seems, he comes centre stage but only to gather with the rest of the band round one of those old circular spring suspended microphones that you saw the Soggy Bottom Boys use in O Brother, Where Art Thou?. Isakov sees the humour in this describing it as “a nerdy folk moment”. However, he pulls the crowd straight back into his musical world with one of their favourites, ‘Saint Valentine’.

He clearly likes an easy-going feel to his gigs even though this sometimes leads to the band appearing a little loose. The quiet, exposed nature of the songs means that faults in the lead instrument playing are very clear. As a result, there were times when the gig could appear too much like just a front room get together with mates. This can be a shame as it detracts from some the subtleties of the atmosphere and lyrics. These risks do pay off, however. Next is a new song from him, ‘Too Far Away’ and this beautiful tune is perfectly set-off with a pizzicato violin accompaniment.

We are all carried off into the night with pictures of autumnal valley farms between high mountains, wrapped up in Isakov’s voice like an old fur coat, not moth-eaten, just well-worn.

Further images available here.