Review: Michael Chapman and Band, The Crescent, York, March 30

WITH only a man cold holding this concert back from unabashed triumph, Michael Chapman looked in fighting fit musical form. The "and Band" on the bill was a typical understatement. Performing alongside Chapman were pedal steel virtuoso B J Cole, cellist Sarah Smout and, arguably the icing on top, folk singer Bridget St John providing back-up vocals.

Both Cole and St John have played with Chapman (or St Michael as he appears in St John’s Jumblequeen song Last Goodnight) since the 1970s and would be perfectly capable headliners in their own right. With 50 albums to his credit, Chapman was performing songs from his recent renaissance, cleverly weaving a spell from his 50 and True North albums over two sets.

Starting with a long instrumental that combined Eleuthera and The Mallard (which was composed on Platform 5 at York station, "in a sorry condition"), Chapman was beset by a heavy cold. His voice was further reduced, with frequent sniffs and coughs off-microphone. His guitar prowess was undimmed.

Born in Leeds (he talked about dreading days off there as a result), he has a flintiness of character that runs through the city like a tough seam. Candid and funny between tunes, in song, he has made a career from chronicling his doubts and romantic mistakes. Unlike many of his generation (he is 78), Chapman is not content to retread past glories. The ensemble showed clear pleasure in playing It's Too Late, a highlight from True North, with Cole particularly expressive, even coaxing smiles from Chapman.

St John played the sole older song, the lovely Rabbit Hills from Fully Qualified Survivor (arguably the blueprint Bowie followed for Hunky Dory).

No time for Postcards From Scarborough sadly, but the shimmering Lake Caddo and Truck Song took away some of the sting. Like Roy Harper, Chapman is part of a small band of talented guitarists and songwriters, too headstrong for popular tastes, but a taste, once acquired, that is hard to shake off.

Paul Rhodes