Once you’ve seen Jonathan Richman in concert a few times, you are able to move past the crazy dance moves, his silly asides and mastery of multiple idioms and recognize at the heart of the show is a consummate songwriter who loves to perform. Years and miles beyond his post-punk days of the Modern Lovers, Richman has settled into the role of troubadour who is out night after night to tickle, touch and entertain.
After running out onto the stage and launching into a song, Richman stopped singing to announce, “Hi, everyone! I’m Jonathan Richman here. This is Tommy Larkins on the drums.” He then began singing again.
For those not familiar with a Richman set, it’s an exercise in bare minimalism. He plays an acoustic guitar, occasionally shakes some sleigh bells and breaks out into dancing while Larkins keeps a steady beat and a very, very watchful eye on the singer. After a song where the polite Aladdin Theater guests remained in their seats, Richman beckoned the audience to come to the lip of the stage and dance. Above us he stood, legs splayed in a rock star stance, more so to keep his strapless guitar balanced whilst playing than for any show biz bravado. As he played through songs such as “A Hard Time Saying Goodbye” and “Let Her Go Into the Darkness,” Richman would pause, incite the audience to clap along with Larkins and then breakdown into dance moves that look eerily like those Elf Yourself e-Cards.
As the set moved into its middle portion, Richman played “In High School I was Such a Brat,” a surprising cover of Dylan’s “Blowin’ in the Wind,” his own classic “Pablo Picasso” and the recent “Because Her Beauty is Raw and Wild.” One of the most exhilarating things about Richman’s sets is the feeling of utter spontaneity. Sure, it’s an act, but there is no set list and songs appear to begin and end on their own time rather than the standard song-applause-song routine we’re all used to seeing. Even Larkins appeared surprised as he would watch and sometimes laugh at his partner.
Following a song about Keith Richards, “Here Come the Martian Martians” and “When We Refuse to Suffer” featuring classic lyrics such as “When we refuse to suffer/ When we refuse to feel/ That’s when the air conditioner wins/ And the real stink of the world loses,” Richman bade us goodnight and dashed off the stage.
After a lot of applause, Richman returned to play “one last one before go.” He continued his study of famous artists with “No One Was Like Vermeer.” But before he left the stage, a small child beckoned Richman from the front. He leaned over and listened for moment. Then after announcing a special request, he and Larkins played “UFO Man.”
On his way off the stage, Richman ran into the mike stand, knocking it over. “I meant to do that,” he said sheepishly, put his guitar away and took off, followed by Larkins.
However, the audience continued to applaud and applaud. Suddenly, Richman appeared again, seemingly humbled by the adoration and brought out his guitar for a tender version of “You Must Ask the Heart.” Before leaving the stage, he gave us one last dance, bid us goodnight and then was gone.
But the applause did not stop and the notoriously shy Richman came down from the stage and waded among the crowd, hugging fans and signing autographs. It felt like an unplanned coda to a deliriously good concert.
by David Harris
[Photos: Fah-lo-sue/solorock.com and 
