Live Review: Jonathan Richman at Unicorn Bar

Yes, I Was Dancing in the Lesbian Bar for the first evening of three sold out shows

I took this photo of Jonathan Richman and drummer Tommy Larkins at the Unicorn Bar moments before he stopped someone else recording on his phone, and made a long explanation about preferring to be in this moment, with these people, and not on television.

The Modern Lover, Jonathan Richman, returned to Kingston, New York for three sold-out shows this week at the Unicorn Bar. Richman had been there before, when the space was The Beverly, and on Oct. 8, after playing the first several songs in the rechristened room, Richman called to new owner Francesca Hoffman across the crowd, to tell her the new space still sounded good. “They made some changes,” he said. “Just don’t make it any deader,” he said referring to the sound of the room.

Richman now looks a bit more like Jon Stewart than Bruce Springsteen, with a career a bit like Alex Chilton. Richman is best known, and loved, for his first album, “The Modern Lovers” released in 1976 with bassist Ernie Brooks, drummer David Robinson (later of The Cars) and keyboardist Jerry Harrison (later of Talking Heads). Chilton hit the big time first with The Box Tops, then hit the cult big time with Big Star. Both Richman and Chilton responded in the 1970s to the sudden fame by doing what they wanted, rather than what audiences necessarily requested. At the Unicorn Bar, there was no “Roadrunner,” but Richman played a little of “Old World” from that first album. But it was loose, meandering, and broken up with off-mic, in-the-audience moments from the still-boyish crooner.

He seemed to revel in leaving the microphone, and taking his guitar, or picking up some percussion instrument, jumping off the stage and dancing around on the same level with the audience. You don’t necessarily see Jonathan Richman for the songs. He rarely did a full tune with its recorded arrangement. Early in the show he began “That Summer Feeling,” but, given the October date of the show, Richman changed the vibe from welcoming summer magic, to an elegiac look back at the warmer weather season.

Some songs had parts, or were mostly in French, Italian, and Spanish. “Give Paris One More Chance” lacked the euphoric chorus of the original, but instead this particular live audience was treated to Richman waxing poetic for long stretches about Maurice Chevalier and Charles Aznavour, and breaking into some of their songs. It was the epic center of the concert.

Near the end Richman asked for requests. One person yelled for “The Neighbors” but Richman quickly shot back that he could write a better version of that song. The next request, though, Richman thought was a good idea, and he did a fun version of “Afternoon” with drummer Tommy Larkins. Anyone attending the next two nights at the Unicorn Bar should shed their expectations, but come up with a special song to shout-request at Richman.