There was something a little different in the air at Topaz Farm on August 14. The crowd was younger than at many of the farm’s summer concerts, and as people settled into the meadow, a warm afternoon was beginning to give way to a cooler summer evening. A light breeze moved through the wildflowers as the sky slowly changed overhead, setting the stage for a night that would move between psychedelic rock, soulful indie pop, and the kind of laid-back melodies that have made Whitney a favorite with audiences around the world.
Opening the evening was Australian musician Nick Allbrook, best known as the frontman of psychedelic rock band Pond. Performing completely by himself, with only a guitar and a drum machine, Allbrook created an impressive, full-bodied sound that was easily the loudest and most plugged-in performance I’ve heard at Topaz Farm this summer. There was something captivating about watching one person command the stage with such a stripped-down setup, using the guitar and drum machine to create a driving, hypnotic performance that filled the meadow.
His set moved through “Whispers of Beauty,” “Jackie,” “Wabi Sabi Bruto Bruta,” “Commodore,” “Karrakatta Cemetery,” and “Music Won’t Save You.” The combination of live guitar and electronic rhythm gave the songs a propulsive quality, while Allbrook’s performance brought an unmistakable psychedelic rock energy to the farm. It was an impressive way to open the evening and a reminder of just how much sound and energy one musician can create on his own.
Whitney followed with a very different kind of energy. The Chicago-based band has built its reputation around a warm mixture of indie rock, folk, and soul, anchored by Julien Ehrlich’s distinctive falsetto. Their live sound is similarly expansive, with trumpet playing a particularly important role in the band’s arrangements. On this night, that trumpet was one of the highlights, adding warmth and character to songs that could shift effortlessly from mellow and reflective to bright and lively.
The band opened with “Valleys” before moving through “Won’t You Speak Your Mind,” “No Matter,” “Giving Up,” “The Thread,” “Dave’s Song,” “Dandelions,” “Friend of Mine,” “Polly,” and “Darling.” The set continued through “In the Saddle,” “Southern Nights,” “Golden Days,” and “The Falls,” before the band returned for an extended encore.
Whitney’s set also included a pair of familiar covers. “Southern Nights,” written by Allen Toussaint and famously recorded by Glen Campbell, was given the band’s warm, understated treatment. The other was Bob Dylan’s “Tonight, I’ll Be Staying Here With You,” fitting naturally alongside Whitney’s blend of folk, country, and soul. Whitney has performed the Dylan song for years, including recording it for a Spotify Singles release.
For most of the set, the audience was happy to stay where they were, listening and taking in the music. There was some dancing, but nothing like the spontaneous movement that had taken over some of the earlier Topaz Farm shows this summer.
That changed during the encore.
As Whitney returned to the stage for “Silent Exchange,” “Tonight,” “Islands,” “No Woman,” and “Back to the Wind,” people began leaving their blankets and chairs and moving toward the stage. Before long, nearly half the audience had gathered at the front, dancing and moving with the music. The mellow evening had suddenly become a celebration.
It was a fitting ending for a band whose music can occupy so many different emotional spaces. Whitney’s songs often carry a sense of nostalgia and melancholy, but there is also an underlying warmth that makes them feel hopeful rather than sad. Live, that balance becomes even more apparent, particularly when the full band, rhythm section, guitars, and trumpet come together.
The contrast between the two sets made the evening especially memorable. Allbrook, alone with a guitar and drum machine, created an unexpectedly powerful and immersive performance. Whitney followed with a full-band performance that was more relaxed and melodic, but no less engaging. Two very different approaches to making music, both finding a natural home in the same field.
As the evening cooled, the wildflowers surrounding the concert area disappeared into the darkness and the last of the summer light faded from the sky. Another crowd had gathered at Topaz Farm to hear music outdoors, and another night ended with people dancing together in the meadow.
Every show seems to create its own personality. Sometimes it’s bluegrass under an open sky, sometimes intimate folk music, sometimes a psychedelic rock performance from a musician standing alone with a guitar and drum machine. On this August evening, Whitney and Nick Allbrook once again proved that there is room for it all. – Jason Felton