The men of Ireland love Tracy Chapman. They love her so much that, at first glance, her concert at The Point seems to be the unofficial boy’s night out headquarters of Dublin.
With girlfriends happily in tow (or missing altogether) the men of Ireland appear to be attending the Cleveland native’s soulful and soft folk performance completely of their own free will.
As an American, this takes me somewhat aback. On home turf, Chapman’s fan-base is almost exclusively female. The only guys you will see at one of her concerts are boyfriends and husbands, dragged reluctantly along.
Chapman takes the stage with a natural air of routine experience. However, as she quietly addresses the packed venue, thanking the audience for coming along, you detect a hint of shyness.
The diminutive singer-songwriter, dressed in a black button-down shirt and draped in her trademark dreadlocks, looks uneasy as she hesitantly speaks to the crowd.
Just as we begin to wonder what has become of the strong, thundering political avenger who belted out such inspirationally defiant songs as ‘Talkin’ Bout a Revolution’ and ‘Behind These Walls’, the bass sounds and, with a look of relief, Chapman launches into ‘Changes’, the first track of her new album, Where You Live. Visibly at ease, she seems to grow three feet taller.
Without skipping a beat, she continues to grow in presence, with beautifully delivered crowd favorites, ‘Baby Can I Hold You’, ‘Fast Car’ and an a cappella version of ‘Behind These Walls’.
Playing an even mixture of old and new, Chapman addresses the crowd only once more, bidding us good night, after an unexpected yet superbly executed Cure cover, ‘Love Song’.
As a performer, Chapman is as genuine as they come. No flashy outfits, no fluffy makeup, no fancy moves. Yet somehow, it seems the boys are okay with it.