A very small congregation of Obie “folkies” and townspeople were the only ones to witness national folk heroes Ellis Paul and Susan Werner perform in tandem this past Wednesday evening. The concert, sponsored by the Oberlin Assemblies Committee, hoped to draw 500. But the unwavering Yeoman academic drive prevailed and only a precious handful put aside their weeknight studies to attend. Thunderous applause and piercing screams of support filled Finney Chapel, however, as those who “just dropped by” and veteran supporters alike warmed to the rich voices of the artists and the powerful guitar and piano accompaniment behind them.

Fill ‘em Up: Ellis Paul rocked a Finney full of loyal fans of folk. (photo by Chana Joffe-Walt)

Of those who came, many were enthusiastic supporters of either Paul or Werner. Others were unknowing, yet curious. Some were just in search of a night’s activity.
“I’ve never heard of either one of these people,” first-year Curtis Asplund said. “But they are singer/songwriters. I expect sweetness. (To quote Paul Simon), ‘They are poets in a one-man band.’”

“I love Ellis Paul,” Oberlin resident Andrea Cumbo said. She said that she had heard of Susan Werner, too, but had heard neither of them in person.
Boston native Paul started the concert, which was surprising because, though Susan Werner seemed to have a bigger Oberlin fan base, Paul is unarguably the more well-known. His achievements have included a concert on the stage of Carnegie Hall, participation in national events like the Newport Folk Festival in Rhode Island, and numerous Hollywood contracts — most famously, the use of his “The World Ain’t Slowin’ Down” as the theme song for the film Me, Myself, and Irene staring Jim Carrey.

Paul’s resounding voice was awesome, and it was obvious that his voice could have easily filled a hall twice the size of Finney. Even with such a small crowd, though, he used it to his advantage and drew people into the music in a way that few are able. To the large percentage that got seats in the first five to ten rows, his emotionally-contorted face and stiff, yet intense posture and dramatic movement could not be ignored or easily forgotten. Though he lacked the youthful charisma of the younger Susan Werner, his act was polished, friendly, and infused with stories in the folk music tradition, often giving background for the upcoming music. His humor, also an important folk music element, was omnipresent and universal. He made much good-natured reference to the joy of “playing for a room full of musicians,” which he said “made him paranoid about his [guitar] tuning.” His selections included old favorites like “The World Ain’t Slowin’ Me Down” and “3,000 Miles,” while also incorporating newer works such as “The Speed of Trees” and “Words.”
Susan Werner was already a two-time Oberlin veteran by last week’s concert. She performed last at the Cat in the Cream in ’97. It seemed that many in the audience came specifically to hear her, including some who waited until her turn — the second act — to enter the hall. Werner is a self-trained guitarist and pianist, and, according to her biography, “began performing at age five, strumming on a guitar and singing at a church in her native Iowa.” She has released four albums, combining folk, jazz and other styles influenced by the likes of Nancy Griffith, Joni Mitchell, and Theolonious Monk.

With her youthful enthusiasm, musical drive and witty persona, she seemed a perfect fit for the college folkies that were present at the event. While her actions were actually less dramatic than those of Paul, they were aptly suited for a young, energetic audience. Her subtle facial expressions and informal jokes, which came spontaneously along with the pitter-patter of rain on the roof or abstract noises from outside, hinted back at the coffeehouse tradition from which she started her career.

Her voice was strong and smooth, her folk/jazz guitar featured strumming as well as some impressive picking. When she did the second half of her set from the piano, her style turned even more to the jazz tradition, as she did an abbreviated “song cycle of love.” As an example of her wit, this song cycle went straight from the first sign of romance directly to the aftermath of breaking up. Even the most serious subjects were jazzed in her cheerful style, making the audience laugh at every turn.

For those who wanted an introduction to modern folk, it was an ideal night. Like reading the great masters of modern poetry or fiction, it gave the audience a general feel that their money was spent for some of the best folk product available. Individual encores followed both artists and a joint encore was even performed — an “improvised” rendition of Bob Dylan’s “Knocking On Heaven’s Door.”