A wave of tranquility passed through Kings Theatre in Flatbush, Brooklyn this past Friday. Gregory Alan Isakov, a South African folk artist, visited Flatbush on Oct. 20 while touring his newest album, “Appaloosa Bones.”
Isakov is famous for his unique blend of folk and ambience. Fans of The Lumineers, Noah Kahan, Hozier and Sufjan Stevens will covet Isakov’s earthy sound, combined with a meditative whimsical-ness that can sometimes be lacking within the “stomp and holler” genre.
Isakov’s most well-loved tracks of “Big Black Car,” “Amsterdam,” “Dark, Dark, Dark” and “San Luis” pay homage to a singular and unique sounding artist who prioritizes calmness, comfort and nostalgia above all else in his music.
Certain moments, such as a pre-coffee subway ride to work, or a 7:30 a.m. Ram Van to class truly only warrants a dance pop hit (giant shout-out to the 7:30 a.m. Ram Van driver that plays the “Barbie” movie soundtrack).
But, in a city and era valuing hustle culture, Isakov’s music serves as a reminder to slow down and enjoy whatever it is in your life that needs introspection or contemplation.
The stage set was minimal and kept to instruments only, echoing that Isakov’s music is one that speaks for itself and doesn’t need excessive flare.
While stage decor was simplistic, the biggest visual standout throughout the show was the lights. The colorful, flashing stage lights throughout the show (even during Isakov’s most relaxed melodies) were the perfect companion to music that feels serene yet laced with passion and anticipation.
The intimacy of Kings Theatre (a capacity of under 4,000 visitors) created the perfect backdrop for the mellowness Isakov manifested for the evening. The venue felt like a place of musical refuge from fast-paced city life.
The opening title off of his newest album, “Before the Sun,” kickstarts an evening of easy yet exquisite listening.
“Before the Sun” preambled the simultaneous use of violin and banjo during the setlist, a staple combo in all of Isakov’s past and present work.
Isakov played his past hits peppered among his newest releases, which goes even further to demonstrate the consistency in his sound from his first releases in the early 2000s to now.
The pacing and spacing felt very intentional. Isakov seamlessly transitioned between his most popular hits/upbeat tunes, and the most ambient and serene pieces of his portfolio.
While Isakov is a cherished artist of the folk genre, some of his tracks definitely have the ability to (very lovingly) guide someone into REM sleep. (I may or may not use the “This is Gregory Alan Isakov” Spotify playlist to fall asleep every once in a blue moon.)
While fans cheered for well-known tracks such as “Big Black Car,” “Southern Star” and “Dark Dark Dark,” it wasn’t a show that had fans standing up and dancing.
It was obvious the music was well-loved and thoroughly enjoyed, but New Yorkers showed Isakov their love by using the show as a very necessary chance to sit back and relax.
Pieces like “3 A.M.,” “Chemicals” and “Appaloosa Bones” were ambient interludes between more energized songs, old and new.
Artists like Isakov, The Lumineers, Head and the Heart, Lord Huron and Noah Kahan have demonstrated a genre that’s quickly gaining popularity and opening its doors to include more and more listeners.
Perhaps it’s the “granola girl/guy/person” trend becoming a commonplace reference for style and aesthetic, but music that reflects earthy tones and feels like road-trips, campfires and flannel has seen no lack of support from fast-paced, energetic environments like New York City.
As a personal fan of the folk pop genre, it can sometimes feel redundant to enjoy such earthy and “outdoorsy” sounding music while living in New York City.
But the atmosphere of Kings Theatre during the Appaloosa Bones tour showed that the general vibe of Isakov’s music is, if anything, more appreciated and much needed in a city that never sleeps and never stops.
Isakov’s grounded and magical tracklist feels like it should be enjoyed near a campfire, or at a family-style meal with people you love, and the energy of his show felt reminiscent of just that.
