Downstairs at the Latest Music Bar transported all who entered back to a club in Greenwich Village in the early 1960’s, when New York City was the hub of the folk music revival. The light was dim and the room was full of appreciative folk aficionados, captivated and intently listening to the mostly melancholic songs on display. The atmosphere was silent, attentive and meek on what felt like a rather subdued mood for a Friday night, with all the focus on the night’s music.
Benedict Benjamin, the new solo project of Benedict Rubinstein, started the nights preceding’s standing as a lonely figure on a dawning stage with just his guitar, voice and the neo-folk he created to hide behind. At first the former Mariner’s Children and Peggy Sue man came across as a little timid onstage but as the show went on his strong voice and delicate guitar play reigned supreme. Benedict’s nostalgic ballads told stories of heartache, sorrow and lowliness, reflecting on life that obviously came from a personal place which was apparent when he gave a little monologue in-between his tracks. The gentle slow paced nature to his songs kept the audience closed-lipped throughout, allowing him to play with the rooms silence between notes which emphasised the songs emotion. It was a beautiful performance by Benedict who perfectly suited the intimate setting and definitely left a great impression on the audience.
 
Samantha Crain takes stage and goes straight into her first track and latest single ‘Killer’, one of the many highlights from her fourth album Under Branch & Thorn & Tree. Samantha comes across as very funny person, she related an anecdote of reading an article about someone who had been given an atomic wedgie, but there was no need to break the ice as her soft comforting sound had already done that. Joined on stage by support act Benedict Benjamin, the pair had obviously gained a great understanding despite having only met each other at the beginning of her tour. Unlike the album this was a fully acoustic set, which at no point felt like it was lacking with Samantha and Benedict’s guitars toing and froing, complimenting each other throughout the set. She went on to tell a story about Buffy Sainte-Marie eagerly waiting at the side of the stage when she was supporting her and the folk legend saying her protest song ‘Outside The Pale’ is about “sticking it to the man” which she was particularly chuffed about. After playing ‘Kathleen’, one of the crowds favourites from her newest album and my highlight of the evening, ‘Kid Face’, Benedict left the stage allowing Samantha to do a few songs on her own (including a Ryan Adams cover) where her finger picking guitar style prevailed. Her incredible talent for creating songs from an enchanting image of personal and observational stories, along with her beguiling and powerful voice, makes for a raw and special talent. Like many of the best musicians, when playing live Samantha lives the songs she is singing which made the mellow performance a very absorbing show.
Iain Lauder