Suzanne Vega

As Vega steps out onto the stage an awed silence descends and the plush interior of the Radisson crackles with anticipation – “oooh, it’s quiet” she says – but after a five-year absence from the spotlight she shouldn’t be surprised. She looks fresh and confident in blue jeans and a 3/4-length jacket, and the audience listens to her with rapt attention, laughing at the witty banter and trying their best to forget how much they’ve just paid for a pint.

With only bassist Mike Visceglia for accompaniment Vega cruises through the old favourites from her impressive oeuvre; ‘Marlene On The Wall’, ‘The Queen And The Soldier’, ‘Caramel’ – the songs fly by, all delivered with the poise you’d expect from a woman who started out in Greenwich village over 20 years ago. Her guitar playing is fluid and effortless and that voice sounds as gorgeous as ever; on more than one occasion its breathy immediacy makes the hair on my neck stand on end. The only disappointment is that the sound in this venue lacks warmth, and the bass is so high in the mix that it sometimes compromises the intimacy of Vega’s songs.

Vega herself is compelling throughout, and I’m on the edge of my seat as she unveils fresh songs from her new album ‘Songs In Red And Gray’ due on September 24th. ‘Harbour Song’ in particular is heart breakingly poignant, and as she sings of lost love Vega’s voice swells with emotion. ‘Solitaire’ is more playful, with a catchy chorus and some wicked wordplay.

At the climax ‘Luka’ is greeted with thunderous applause from the audience, and they clap along enthusiastically during an acapella ‘Tom’s Diner’. Vega works the song beautifully with a couple of well-timed dramatic pauses, and even leaves the crowd to hum the chorus; a nice gesture as the sound of our combined voices is certainly not angelic. It’s good to have her back.