Marissa Mulder: Be Here Now —The Songs of Ray LaMontagne

Randolph B. Eigenbrode | October 3, 2016

Marissa Mulder

Be Here Now – The Songs of Ray LaMontagne

Metropolitan Room, NYC, September 30, 2016

Reviewed by Randolph B. Eigenbrode for Cabaret Scenes

marissa-mulder-cabaret-scenes-magazine_212 Marissa Mulder’s newest show has all the qualities you’ve come to expect from the young chanteuse: an easy-going and natural approach to often difficult material; an always-present singer; and, of course, lush vocals. With her authentic stylings, rambling—but charming— patter and red curly mane that brings out an expressive and earnest face, Mulder makes every room her own and has no trouble holding the audience in the palm of her hand.

In this offering, she tackles the music of the press-shy, folk-blues singer/songwriter Ray LaMontagne, whose songs are often impressionistic with a complex emotional center. Mulder wisely approaches the material less with a typical cabaret approach and more like a concert, which allows her to act as a vessel for LaMontagne’s work. And the music seemed to pour out of her right away with the opener “Beg, Steal or Borrow” and continuing with a playful “Can I Stay.”

The show, while self-admittedly ballad-heavy, never sagged even in its somber moments, mostly due to Mulder’s commitment as well as spectacular arrangements by Musical Director Jasper Grant. Grant also shared the evening with a cello, played magnificently by Eric Wong, whose rich timbre rightly set off Mulder’s soprano—most effectively in “Like Rock and Roll and Radio.”

While Mulder’s appeal is undeniable, this showing did seem to have one disconnect. LaMontagne’s songs are written so personally (particularly with references to the women in his life) that Mulder’s concert approach forces a chasm between the music and what would be her personal connection to the material. Her serving as musical crucible doesn’t allow much room for her own personal viewpoint or stamp, evident in a piece like “Winter Birds.” Yet, she is a joy to experience. This songbook will not be everyone’s cup of tea, but its musical merits combined with Mulder’s authenticity and likability leave the audience smiling and filled with hope— much like LaMontagne’s music.

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