Ryan Adams - Live Review

Ryan Adams Live at the New Theatre, Oxford: A Night of Raw Emotion and Nostalgia

Ryan Adams performance at the New Theatre in Oxford this week was a masterclass in minimalist stagecraft and intimate storytelling. Armed with five guitars, a piano, and an assortment of vintage lamps illuminating the stage, Adams delivered a two-hour set that effortlessly blended the vulnerable with the humorous. The venue, an opulent and classic theatre, provided the perfect setting for an artist known for baring his soul through music.

Adams took the stage promptly at 8 PM, opening with "Oh My Sweet Carolina," a track from his debut solo album Heartbreaker (2000). It’s a song that embodies his early work, steeped in Americana and folk, setting the tone for a night that would traverse nearly two decades of his prolific career. As he moved into "Ashes & Fire," a slow-burning track from the 2011 album of the same name, the audience was captivated by his delicate fingerpicking and restrained, hushed vocals.

Throughout the evening, Adams swapped between guitar and piano, with a memorable quip, “I’ve got a lot of places I like to make people miserable,” charming the audience as he poked fun at the darker, melancholic themes of his work. It’s these small moments of levity that balance the weight of his more brooding songs and remind the audience that Adams is as much a performer as he is a poet.

The first set was peppered with tracks spanning his catalog, including fan-favorites like "Gimme Something Good" from 2014’s self-titled album and "My Winding Wheel" from Heartbreaker. The unexpected highlight, though, came with "Haircut Like Chris Isaak," a cheeky, improvised song that replaced the originally planned "Two." The lighthearted nature of the improv moment demonstrated Adams' ability to adapt to the energy of the room, making the show feel like a personal interaction rather than a rehearsed recital.

One of the standout moments of the night was his cover of The Smiths "There Is a Light That Never Goes Out." Played on the piano, Adams’ interpretation was both reverent and deeply personal, transforming the 1986 classic into something entirely his own. The simplicity of the arrangement—just Adams and the piano—allowed the lyrics to resonate in a new way, tapping into the emotional core of the song.

After a brief venue-enforced interval at around 9:20, where Adams humorously advised the crowd to “consume two light ales and a bag of crisps,” he returned for the second set. This half of the show saw more introspective material, such as "Hotel Chelsea Nights" from 2005’s 29. Songs like "Free Your Self" and "Rain in LA" showcased his more recent work, blending alternative rock with a meditative, almost dreamlike quality.

Another unforgettable cover came in the form of Oasis "Cast No Shadow," also performed on the piano. Adams has long been known for his brilliant reinterpretations of others’ work, and this was no exception. His rendition added a layer of melancholy that made it feel less like a Britpop anthem and more like a quiet reflection on loss.

The night closed with some of Adams' most iconic tracks. "To Be Young (Is to Be Sad, Is to Be High)" reminded the audience of his roots in alt-country, bringing the energy back up before he segued into the anthemic "Come Pick Me Up," the perfect closer for the bittersweet nostalgia that defines much of Adams’ music.

As the lights dimmed and the applause echoed through the theatre, it was clear that Ryan Adams had delivered something rare: a show that felt intimate yet grand, humorous yet heart-wrenching. For fans, it was a journey through the highs and lows of his extensive career; for newcomers, it was an introduction to an artist who can make you feel deeply and laugh out loud, sometimes in the same breath.