Christopher Williams Coffeehouse Show / CD review

It is refreshing in this age of prefabricated Backstreet-Boy bullshit (sorry ma - but it sounds so good) that one can listen to an artist's CD, then attend the same artist's concert and have two very different auditory experiences. The artists that appear at SocComm's weekly Coffeehouse shows are extraordinary examples of this type of versatility, and on January 30, Christopher Williams was no exception.

Normally I don't like to categorize myself as a "fan" (in the literal meaning of the word) of any specific genre of music. Even if I were to classify myself as such, it would be a far cry to say that I was a "fan" of folk music. However, there's just something about a Coffeehouse show that brings out the best in a performer, whether it be Peter Mulvey, the WPI Jazz Ensemble, or some schmo from Daniels and his nose flute at an Open Mic Night. A fan of folk I may not be, but I know what I like, and Christopher Williams delivered a rocking performance at his latest WPI appearance.

Inspired by the intensity of the show I had just witnessed, I was enticed to ask Mr. Williams for a review copy of his most recent CD, "the silence in between." Hey, I'm open-minded, and after all, this is the artist that just captivated me for the past two hours. So I bring the album home with me, pop it into the old stereo, and prepare myself for a night of relaxation to the soothing melodies and pure-poetry lyrics of - folk music. I don't know exactly what I was expecting, but the music that emanated from my speakers was very different than what my preconceptions I had both of Williams' music (from the concert I had seen) and folk music in general had led me to expect. Williams, who played a solo show at WPI, is joined by various and sundry musicians on his recording, giving each track a very distinct quality and style. With backup vocals by Los Lobos member David Hidalgo on the inevitably stuck-in-your-head first track "Every Time I Say Goodbye" and by Ellis Paul (who played WPI Coffeehouse in September with Williams on drums) on "Empty My Hands," Williams' third release travels a road from folk to rock to pop to jazz and back to folk - sometimes within the same song.

In concert, Christopher Williams is a force to be reckoned with, establishing himself on the stage with ease and power that is rarely seen in mainstream club environments. As a singer/songwriter, his husky yet melodic voice drives home his inspired lyrics of life and love that stick in the mind and often are echoed in everyday life. (Hey, that reminds me of this song I heard…) As a musician, Williams' guitar style is a folk/rock-ish meld that blends beautifully with his voice and sets a fitting tone for each and every song he performs. For one song during his January 30th performance he abandoned his guitar completely and accompanied himself on a drum - further demonstrating his versatility as a performer. Williams is no disappointment as a personality either, flavoring his performance with stories about the sources of his inspiration ranging from reminiscences of teenage visits to the roller rink to recollections of scat-singing fourth graders, keeping up conversation during his many re-tunings. The elegance of the CD is turned into raw energy when Williams appears on stage, just the man and his guitar (or drum), and I see this as a sign of confidence and talent in a performer - the ability to be comfortable enough with a skill to be flexible with it.

If asked whether I preferred the CD or the live performance, I would have to answer with the no-brainer response: "live performance, obviously." However, I would have to admit that the CD had unmistakable merit - "Every Time I Say Goodbye" and "Ever After" are among my top fifteen favorite songs of the moment - and I don't doubt for a second that Christopher Williams is going to go places both as a recording artist and a performer. Look out for this guy, he's on the move and shouldn't be missed.