For their first show of the Spring tour, Amos Lee and his band treated the capacity crowd of Orlando’s Plaza Live to a performance that was energetic, eclectic, and intimate, showcasing all the traits that made fans fall in love with Lee following his 2005 debut. It was a relaxed set, with Lee telling a lot of stories and joking around between songs, but not one lacking in powerful moments.
An extended jam by Lee’s band led to the show-opening “Windows Are Rolled Down,” the hit single from Mission Bell. The band then quickly transitioned from the folk-pop tune to the twangiest country song on the new album, “Tricksters, Hucksters, and Scamps.” Amos Lee the folk crooner enraptured the audience with a powerful rendition of “Keep It Loose, Keep It Tight.” Amos Lee the rocker satisfied with the rapid fire riffing of “Street Corner Preacher.” Amos Lee the R&B frontman closed the show with a funkier version of “Southern Girl.” Whatever the musical style, though, it was Lee’s soulful voice that stole the show.
Though it may not seem possible, Lee’s vocals sound better in person than on the studio recordings. His smoky tone conveys a little more pain; his booming voice carries more power. Lee’s smooth vibrato is dripping with sex appeal, especially on sensual tracks like “Won’t Let Me Go,” which Lee transitioned into a medley with Frank Ocean’s “Thinking About You.”
Perhaps the greatest testament to Lee’s gifts as a performer is his ability to adapt each of his songs in new ways while still staying true to the spirit of the song. The band played several songs in a stripped-down bluegrass style, including a dynamic performance of “Jesus,” which has a much blusier sound on the album. The folksy “Bottom of the Barrel” is given a funkier treatment, with Lee rap-singing over a propulsive beat.
Lee’s adaptability as performer is best exemplified by a single performance. During a solo section of the concert, Lee stood alone with acoustic guitar in hand, wondering out loud what song he should play next. The requests were far ranging, but the loudest were for “Violin.” Lee then explained that he couldn’t sing the song because a recent bout with bronchitis rendered him unable to hit the high notes of the anthemic chorus without coughing. Upon urging, however, Lee agreed to play the song, compensating by singing the chorus in falsetto. As a result, the song took off in a whole new direction. Instead of an impassioned plea for help, Lee’s voice was a soft, weeping whisper, carrying the same emotional weight but with more intimacy and vulnerability. It was an unexpected treat — a subtle variation that helped put men and swooning women alike under Lee’s spell — and it showed what makes Lee so special.
