Nathan Evans
St Luke’s, Glasgow
“These songs are my future – so if you don’t like them I’m f***ed,” declares Nathan Evans with a mix of Lewis Capaldi-like self-deprecation and take-a-chance-on-me desperation.
Two years ago, Evans was working for Royal Mail in the Glasgow satellite town of Airdrie; one TikTok video later he was “that sea shanty guy”, an overnight sensation with his version of Wellerman, spawning copycat renditions and a whirlwind of activity for a bedroom musician who had never gigged professionally.
His debut album, also called Wellerman, has just been released and Evans, who turns out to be an eager live multi-tasker with a fine, strong voice, carries himself with the air of a man who can’t quite believe he gets to do this for a living (sustainable sales permitting).
He’s still finding his feet as a performer, a little nervy but able on guitar, piano and loop station, an impressive vocalist when he gets the opportunity to soar, and with a commercial ear as a songwriter. His set was a Christmas selection box of mainstream material, from acoustic indie troubadour fare to chirpy folk to a work-in-progress called Young, which recalled Amy MacDonald in the clipped delivery, strained phrasing and nostalgic sentiments for an adolescence that he can probably still make out in his rear view mirror.
Busker covers ranged from Bastille’s Pompeii to Old Crow Medicine Show’s Wagon Wheel, from dewy-eyed Celtic fare such as Wild Mountain Thyme to the aforementioned Wellerman. Evans’ repertoire may range beyond sea shanties yet he displayed an affinity for Banks of Sacramento and his own attempt at pastiching the tradition, Haul Away, is a decent amalgam of pop and sea shanty style with a Proclaimers-style scratchy guitar accompaniment.
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