There are perhaps reasons to be cynical about the prevalence of musical tribute performances; running through a predictably arranged setlist of tracks from the catalogues of iconic bands or songwriters can sometimes feel like indulgent wistfulness, designed more to superficially evoke memories of a past era than engage substantively with the intricate legacies of a particular artist’s work and influence.
Not so with Cal Williams Jr. In his varied and expanding “A History of…” Fringe series, Williams covers — in all senses — several important figures across the folk and blues spectrum, playing a total of eighteen shows at this year’s festival alone. His approach balances technically proficient, attentive yet original renditions of selected songs with, as the moniker suggests, conversational discussion of their historical, musical, or biographical context.
But by any measure, this hour devoted to the haunting, resonant work of cult English folk singer Nick Drake is a particularly exquisite experience. Drake is one of those figures who evokes a sense of the otherworldly and, given the beautiful but melancholy sense of contemplative isolation which seems to have accompanied him through so much of his short life, Drake’s songs and story tend to find a deep and affecting place in the perception of those who do discover him. As Williams himself acknowledges, there is a particular pressure to present Drake’s songs successfully, given how much they mean to people on a personal level.
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In a tight but well-chosen set, Williams highlights Drake’s characteristically dark but also, occasionally, lighter, or more positive sides. From the thoughtful yearning of ‘Place to Be’, the blues lament of ‘Smokin’ Too Long’ or brighter, lush strains of ‘Fly’ and ‘Northern Sky’, one could not fault Williams’ arrangements. They are faithful enough to the original recordings that valuable familiarity is maintained, allowing the audience their rapt moment of ritual. At the same time, moments stand out with the magic of realising a perfectly balanced song, one you hadn’t thought of imaging any other way, has just been adjusted for the better. Williams elongating the vocal intonation on ‘Pink Moon’ — the final word of its chorus refrain moving up and over three notes instead of one — provided an especially beautiful example.
It struck me that there is something strangely communal about Drake’s quiet, introspective compositions. Perhaps it’s the sense of solidarity and connection folk music taps into, that worldly lineage evoked by an open tuned guitar that makes it sound, as Williams pointed out, more like an oud. Such music can be deeply subjective, an expression of interior worlds and emotions or specific histories of place but also, I think, transcendently connective. Neither Nick Drake fans nor those interested in getting a sense of his influence will be disappointed with this masterful, evocative showcase.
A History of Nick Drake continues at the Grande Room at The Gilbert Street Hotel on March 22 and 23. Williams will also perform A History of John Martyn A History of Bob Dylan, Woody Guthrie, Mississippi Slide Blues, and Mississippi Devil Blues across the Adelaide Fringe season.
Read more 2025 Adelaide Fringe coverage here on InReview