Concert review: Bonny Light Horseman at Asheville Masonic Temple
The opportunity to witness a stage full of artists at the top of their respective games is a rare treat. That Anaïs Mitchell, Eric D. Johnson, and Josh Kaufman have gifted Asheville audiences that experience three times in the course of six months as Bonny Light Horseman is but the latest example of how spoiled we are on the musical front — and yet their accomplishments still feel under-reported.
The trio — and a three-piece backing band that included musical Forrest Gump, former Asheville resident Michael Libramento — classed up the Asheville Masonic Temple on Dec. 8 before one of those dream-like attentive and appreciative local audiences. While their particular brand of high-quality music encourages such engagement, the unusual room further pushes game attendees to wholly lock in, resulting in a Show of the Year candidate and new standard for what can be accomplished in that hallowed space.
Joan Shelley, who’s headlined some of the city’s best venues, set the tone for the evening with a warm opening set that found the talented singer/songwriter performing solo for one of the first times in a while. The Louisville, Ky.-based artist’s warm vocals and acoustic strumming paired well with the circular room, and prompted her to walk into its center for a set-closing a capella number — one of several instances when she invited audience participation on harmonies.
But the night belonged to the star-studded trio, and they wasted no time establishing their creative prowess. Far enough removed from their opening slots for Bon Iver at Rabbit Rabbit in late June to make their Buncombe County return feel fresh, Bonny Light Horseman commanded the room from the start, proving that they’re just as deserving of a headlining spot.
Led by Johnson’s once-in-a-generation voice — one of the most consistently great in modern music, whether live or in the studio — the supergroup served up a riveting set of reinterpreted standards from its self-titled debut album and originals off its October release, Rolling Golden Holy, for a stunning set of musical mastery.
While the Fruit Bats frontman — who hilariously dubbed his wardrobe choices for the evening “Dallas private investigator” — led many of the songs, Mitchell complemented his efforts with comparably rich singing and bounced around her mic like an excited bird.
In line with his other band’s winged creature imagery, Johnson fully clicked BLH into gear while taking the reins on “Magpie’s Nest,” though the entire performance exuded a rich chemistry that felt like a concerted effort, even with Kaufman sticking to backing vocals, peaking with “Fair Annie,” his duet with Mitchell.
But the gifted guitarist — who’s lent his talents to work by Bob Weir, The National, Hiss Golden Messenger, Josh Ritter, Craig Finn, The Hold Steady and The War on Drugs — frequently showed why he’s such an in-demand collaborator with intricate, seemingly effortless guitar solos that entranced the capacity crowd and earned some of the show’d most raucous applause.
Encouraged by the rapt crowd, the trio received ample support from Libramento — whom Mitchell dubbed “the mayor of Asheville…and Atlanta” — doing his mad scientist thing in the corner on shakers and synthesizers. And Shelley returned for a “‘round the mic” finale of “Bright Morning Stars,” in which she proved ready to join the all-star ensemble if they ever decide to expand or need a fill-in.
Though the talent was undoubtedly present, the hair-raising experience also prompted increased interest in future shows at the Masonic Temple, which include John Craigie and consecutive sold-out performances from Watchhouse in the new year. Whether or not you already have tickets to these shows, trust that events at this unusual venue are well worth prioritizing — even if don’t know beans about the artists on stage.
(Photos by Justin Bowman)
Joan Shelley
