ACL Review: Marlon Williams

Marlon Williams possesses a voice so effortlessly powerful he almost makes it look too easy. A celebrated songwriter in Australia and his native New Zealand, the 25-year-old’s solo debut received stateside release this year courtesy of indie imprint Dead Oceans, and his 45-minute set in the Tito’s tent Sunday proved he’s ready for international stages.

Photo by John Anderson

Although sound issues marred the opening of the set with feedback through the first three songs, Williams’ mercurial voice echoed and sustained through the rolling, chuckwagon rhythm of “Hello Miss Lonesome” and plaintive “Silent Passage.” The latter lifted behind the singer’s high reach, touching towards the gentle trill of Tom Brosseau, while the fiddle-led “Ballad of Minnie Dean” dove into more traditional Down Under folk.

Breaking out electric guitars from the upright bass and mandolin backing, the quartet dug back into Sixties pop with their take on “I’m Lost Without You.” Williams unloaded an understated, Roy Orbison-esque power against a bluesy bass walk that climbed into a swirl of guitars both haunted and yearning. “Dark Child” countered with a low and ominous roll before the song spun into scoured riffs.

The final three songs showcased Williams’ range best. Standing solo, the Kiwi offered a stunning turn on Leonard Cohen’s “Bird on a Wire,” trembled in high falsetto. Afterward, the band rejoined him for a bluegrass breakdown of the Stanley Brothers’ “Nobody’s Love Is Like Mine.” Williams finally broke his non-dramatic pose with a closing cover of Screamin’ Jay Hawkins’ “Portrait of a Man,” lowering the mic to his knees as he unloaded a searing soul howl.