The Oberlin Review
<< Front page Arts April 28, 2006

Oberlin Alum Ritter Retains Folk Integrity
Musician Josh Ritter Offers Sincere Talent

Josh Ritter, OC ’99, chose Cleveland to kick off his latest tour promoting his most recent album, The Animal Years. Last Wednesday, fans of the singer/songwriter filled the Beachland Ballroom bursting with anticipation, half-smiles on faces trying not to look too excited.

Ritter has recently signed on to V2 Records, a major label that is not necessarily known for producing folk music. And Josh Ritter is a folk musician. The relationship seems strange, however Ritter seems to be thriving in his newfound success.

“When I started playing, I thought, who can do [the recording] better than you can,” Ritter said. “However, if you are given the opportunity [to work with a larger label], then why not?”

The stage was filled with instruments, a sign that Ritter has moved on from his early days when he recorded in the Oberlin Conservatory using only a guitar, his own voice and the occasional cello in the background. Small glowing lamps with shades the size of coffee mugs were placed above the black tangle of chords and amps, perched in decorative positions near the seats of band members.

Ritter himself entered, accompanied by screams from the audience as well as the other members of his band. Smiling, he took up an acoustic guitar and began the show with “Idaho,” a ballad from his new album. The quiet, melodious song soothed the excited audience while giving an impressive show of Ritter’s vocal talent.

Three more songs from The Animal Years followed, including an enthusiastic version of “Good Man,” an optimistic tune that falls in line with Ritter’s ever-present smile, and, stripped down as it was, surpassed the quality of its album version by leaving out the extraneous noises and backup voices that are so distracting in the recording.

A hyper drum intro that induced a furious clapped accompaniment from the audience then welcomed in a favorite from Ritter’s previous album, Hello Starling, “Snow is Gone.” As well as being seasonally appropriate, the song induced a sigh of familiarity; the audience was glad to see an old friend after so many new introductions.

Ritter acknowledged the difficulty of exposing new work, likening the experience to a time when he had to introduce a girlfriend with tattoos all over her body to his parents.

The next songs were a scramble of new and old, mellow and intense. The lights went up and down to make sure the audience got the point. For the agitated yet placid Hello Starling tune, “Wings,” the stage became almost completely black as Ritter picked at an acoustic guitar, all other instruments suddenly a whisper.

“Roll On,” from successful 2002 album The Golden Age of Radio, was a part of the mix as well. Ritter dedicated the song to novelist Muriel Spark, who died April 13.

The longest song on Ritter’s new album, an anti-war rant titled “Thin Blue Flame,” had Ritter worked up, wrought with emotion and tense, a good distance from the chuckles of the rest of the show.

“This song is about how we shouldn’t give up being as confused as we are right now,” said Ritter.

But inevitably, the lights came back up and Ritter became nostalgic, singing an old song, “Me & Jiggs.”

“I wrote this in Ohio,” said Ritter of the song that he reportedly composed while sitting in Tappan Square during his time here at Oberlin.

The sentiments carried through to after the show, when Ritter received all who had lined up to talk to him. He hugged current Obies, reminiscing and sharing memories with them while they talked about the present; he took demos from budding artists and signed CD cases for siblings.

Ever inclusive, Ritter encouraged audience participation in “You Don’t Make It Easy Babe.”

“This song is for Dick Cheney, our most lethal vice president,” Ritter said. “Sing it like you’re singing to a Dick.”

Ritter topped off the show with two songs named after different girls: a new, barroom brawl-type song, “Lillian,” and the sweet song of young love that has been rather popular for the past three years, “Kathleen.” He blew a kiss at the microphone as he played the final notes, thanking the audience for a great show.

The audience demanded an encore and received the biggest treat of the night when Ritter, alone on stage, stepped away from the microphone and did an unplugged version of “Lawrence, KS.” The choice was a deviation from the set list, played in reverence to a shouted request. Considerate and still somewhat humble, Ritter understood and played to the desires of the audience.

He finished with the well-known song “Harrisburg.”

“Make it sound enormous,” Ritter said, grinning into the microphone.

However, then the audience was thrown off guard and amused by a sudden visit from the Temptations. Lines from their hit, “Papa Was A Rollin’ Stone,” interrupted lines from Ritter’s own tune. Ritter made a triumphant exit, happy to end on a humorous note.

Cheery chatter filled the room once all were sure he had really gone. It is clear that although Ritter’s latest album may be a little dressed up from what he has done previously, the charm is still there. Perhaps Ritter will consider recording a live album, for it is in concert, outside the studio walls, that he seems to truly shine.
 
 

   

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