Review: Reeve Carney is the Real Thing at The Green Room 42

Last year I had the pleasure of seeing Reeve Carney do an evening of Freddie Mercury songs. He was astounding, perhaps the only current Broadway star who could navigate an evening of Mercury’s material and walk away unscathed. And so it was with great anticipation that I sat down Sunday evening to hear him sing an evening of self-penned songs at The Green Room 42. I knew I would be in for something special.

And I was. For all his celebrated turns on Broadway (Hadestown, Spiderman: Turn Off the Dark) it is on the small concert stage where Carney truly shines. His show is a one-man operation, only Carney, a couple of guitars, a piano, and a battery of speakers, pedals, and buttons that make him sound like a full rock band. His voice itself is a musical instrument, alive with an entire palette of colors. His versatility is bewildering. From rich baritone notes to the most stratospheric countertenor wails. His technique is impeccable. Both as a vocalist and a guitar player he achieves feats of virtuosity that are a little bit like magic.

But for all the bravura flash, there is something endearingly internal about his performance style. His songs explore the introverted world of a sensitive soul trying to navigate the complexities of modern relationships. It’s really good storytelling, although Carney is quick to point out the difference between his narrative work in the theatre and his non-narrative work in musical forums. The chasm doesn’t actually seem as wide as he paints it. He is a performer of great passion, who does truly live inside each of his songs. The characters may not be fictional but his beautiful songs are well-crafted one-act plays, the kind only a fine actor could play. And he is that for sure.

From the Memphis-influenced blues of “Father’s House,” the 80’s power-ballad flavors of “Think of You,” to the trancelike new age groove of “All Right,” Carney moves through genres like an expert traveler. His music defies easy labeling. “Looking Glass” is a waltz with a sort of hurdy-gurdy simplicity that wouldn’t sound out of place in the world of Jacques Brel. Carney said he based “Amelie” on the style of Bob Wills and the Texas Playboys. It’s true, it’s absolutely Western swing but there’s almost something a little French about the unexpected chord changes.

Reeve Carney told us that “There She Goes” is based on his experience of playing in the pit band of his high school production of Sweet Charity. Although it isn’t a parody of Cy Colman’s style, it does capture the off-kilter joy of his jazz language. Some of the best lyrics of the evening were in “Youth is Wasted” with its repeated chorus of “Youth is wasted on the young, and wisdom’s wasted on the old.” That’s the kind of smart lyric that makes you sit up and take notice. “Checkmate” paints a picture of the subtle gamesmanship inherent in all romantic relationships. While “Geronimo” paints the other side, where one has to take a leap of faith that is completely instinctual.

The two best numbers of the evening were worlds apart in tone. “Up Above the Weather” is a rock art song that talks about transcending the temporary storms we all encounter. “Testify” is a true rock and roll shredder that pulled out all the stops. It came from a very personal and powerful place in the composer’s soul. That soul was on display all evening at the Green Room 42. It’s a rare thing to get such an unguarded performance in a cabaret room. But I would never expect anything safe or slick from Reeve Carney. He is the real thing. A truth teller with a poet’s soul and a gift to those who get to witness it.

Reeve Carney will return to the Green Room 42 on May 8th with an evening composed of songs sung by Broadway divas. For tickets to that show or the other great offerings at The Green Room 42, visit thegreenroom42/venuetix.com.