Her Majesty’s Theatre, May 5

I LIKE Paul Kelly to stay the same and tend to get tetchy when he changes things around, especially when he tinkers with his band line-up. I couldn’t see why he had to shoot the Messengers, or why he would hire hotshot American guitarist Randy Jacobs. Was the Professor Ratbaggy project just a scratch band, and what about that bluegrass Smoke thing? And, these days, what is he doing with his nephew Dan, and where are Hadley and Haymes, his bass and keyboard henchmen? Clearly, if it was up to me, Paul Kelly would still be back at the year dot.

Now comes Kelly’s double-CD, Ways and Means, with all its confident accomplishment. Showcasing yet another line-up – The Boon Companions – Kelly has got it right once again.

The band is not all new – the staunch Peter Luscombe is still on drums, joined now by brother Dan on guitar and keyboards, Bill McDonald on bass and the young Dan Kelly, also guitar, and co-writing songs with his uncle Paul. The result both in the studio and on stage is impressive. They are touring a very strong set and they know it. It is impressive how well Paul Kelly steers and shapes not only his music, but the way he presents it. A live show is never just knocked together. Kelly is good at micro-management, and the details are always careful – whether it is his choice of support act, the pre-show incidental music (selections from Harry Smith Americana to Sinatra) or the band’s outfits. This extends to the order of service. Kelly takes the art of the setlist almost to the point of curation.

The show at Her Majesty’s, midway through a national tour and following on from the international circuit, saw Kellly return to the hometown faithful and a venue that very much suits him. Paul and his band started with the Morricone-styled instrumental Gunnamatta, the overture to Ways and Means, followed by the strong country rock number Oldest Story in the Book. New songs were sprinkled through the show and scrubbed up well – Big Fine Girl, the slow, bluesy Curly Red and Beautiful Feeling.

It was a mix of Kelly ancient and modern – as far back as Don’t Harm the Messenger, Before Too Long and the silvertop favourite, To Her Door. Highpoints included a strong reading of Cities of Texas, and the outstanding Wintercoat, Kelly on guitar with Dan Luscombe at the piano. The band was in fine form – McDonald playing vibrant, sinewy bass and Dan Luscombe splendid in his fluid, understated guitar work. They are valuable inclusions and with guitar garnishes from Dan Kelly and the deft, unobtrusive drumming of Peter Luscombe, the unit has that nimble string band sound which has served Bob Dylan so well lately.
Paul Kelly was in high spirit. In a snug black suit with an open necked white shirt, he and the band were dressed in what might be called SP bookie 1963. At one point he asked the audience whether anyone knows what Andrew McLeod is doing running about on the half back line.

Mostly it is the business of business – 24 songs with plenty of full-throttle country rock. Whether veering towards Tex Morton with Young Lovers or the more modish grooves of Ratbaggy’s Love Letter, Kelly was in open stride, proud of his accomplishment and, with his present band, having the ways and means to keep it very much alive.