By: David Schultz

A Segovia with the wit of Phil Ochs, Wisconsin singer-songwriter and guitarist nonpareil Willy Porter can do things with an acoustic guitar that seem impossible until you see him play. When he gets going, his dexterity defies physics. Like Tom Morello and Vernon Reid, the guitar just seems to bend to his will and serves as an extension of his body and soul as opposed to a simple musical instrument. This past Tuesday, Porter returned to Joe’s Pub in New York City with a full band in tow. As part of a five piece that included longtime drummer Dave Schoepke, Porter offered an early evening set that featured many of the new songs from his recently released How To Rob A Bank. Playing with a full band, Porter focused less on the guitar gymnastics that feature predominantly in his purely solo shows and more on full bodied renditions of songs both new and old. The fact that he had Ryan Peterson, a young guitarist that can hold his own, added a nice dimension to the set and, at times, made Porter one of the most skilled rhythm guitarists to fill the role.

With his songwriting, Porter usually focuses his insight inwards, celebrating the small joys of life. Where Dylan and Pete Seeger honed in on the complexities of the world, Porter, a child of the Midwest, can give you a cerebral take on the joys to be found in his own backyard. He doesn’t shy away from political topics but approaches them with a sense of humor, much in the same way The Smothers Brothers might tackle a touchy subject. On “How To Rob A Bank,” he offers a whimsically skewed grass roots response to corporate greed and a less dangerous solution to pulling a heist with masks and guns. Porter imbued “Colored Lights” with his customary easygoing feel and matched the hard-edged blues of “Hard Place” to the embittered character at the center of the song.

In between songs while he gets his guitar in tune, he shares little bits and pieces of himself in a stream of consciousness style. Somewhere between stand-up comedy and Garrison Keillor, Porter opens a small window into his mind and bridges the gap between himself, his music and the audience. It’s a bit of a necessity. More than anyone I can recall, Porter’s amiable and affable personality seems to invite a weird type of audience participation with people just shouting out questions and comments as if it’s a showcase on The Price Is Right. On this night, we learned of Porter's repeated brushes with death (or at least calamity) and a hilarious tale about a gig in South Carolina that involved a slightly inept college-age concert promoter.

Porter is more than just a witty guitar genius and he’s at his best when he’s singing about the sweet joys of life. It brings out a perfect quality in his guitar playing and adds a beautifully emotional depth to his work. Embodying the best that Porter has within him, Porter ended his set with “Barefoot Reel,” singing tenderly about the joys of seeing his sweetheart dance before closing with a bluegrass romp and a final reminder that on guitar, Porter has few equals.

Labels: Willy Porter