Music / America, presented by Fred Smith. At The B, Queanbeyan Performing Arts Centre, November 3. Reviewed by BILL STEPHENS

It took a cannily programmed concert on the eve of what could prove one of the most momentous days in American political history, for this reviewer to finally experience the brilliance of Fred Smith.

Folksinger, troubadour, balladeer, political satirist, storyteller, no matter which label seems most appropriate, Smith blithely discards normal rules of good presentation to mesmerise with the profound perceptiveness of his lyrics, and the ear-worm catchiness of his tunes.

To paraphrase the late Dolly Parton, it takes a lot of skill to appear so relaxed on stage, but it is precisely Smith’s relaxed demeanour that skilfully masks the meticulous preparation and attention to detail that is obvious in the professionalism of his performance.

Surrounded by a quintet of outstanding musicians in Dave O’Neill (Electric guitar, violin), Jacqui Bradley (Banjo, violin and backing vocals), Matt Nightingale (Double bass, backing vocals), Hayden Kinsman (Keyboard) and Mitch Preston (Drums), all of whom appeared to breathe with him, Smith delivered a masterful musical PowerPoint presentation of American history that was as enlightening as it was entertaining.

Striking visuals often proved as affecting as his razor-sharp verbal observations delivered among powerful songs, some funny, some sad, some both funny and sad, and most sugar-coated with catchy tunes.

Commencing with Wind and Wind, outlining the contribution of Irish immigrants to the growth of American mechanisation, Smith followed with Long Run Wilmington Joe, a comment on the Joe Biden administration, which led inevitably into What Could Go Wrong and the election of Donald Trump.

If on paper these song titles sound a bit dry, as delivered by Smith they are electrifying.

Songs like Don’t Dig My Grave and Deep Deep River highlighting pivotal incidents resulting from presidential decisions, especially the latter for which Smith declined to show the image which inspired it.

Chinese Car, a new song with references to the opera Madam Butterfly, and some unsettling images of Putin and Trump together, sounded a wry warning concerning a predicament in which the present administration has unwittingly found itself, while Asshole proved a heart-felt sing-along in which the audience happily participated.

However, not every song offered deep and meaningful comment on American politics.

Song of the Open Road and American Guitar provided opportunities for Smith to share a self-deprecating account of his attempt to break into the American folk scene.

While Addicted to Addiction is a witty comment on America’s fascination with addictive substances, it could also be an alert to others in the audience still discovering the brilliance of Fred Smith, that attendance at his concerts could also become an addiction.

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