REVIEW: NOAH KAHAN @ MGM MUSIC HALL FENWAY 10/22

Review by Ashley Duong

“I have a sneaking suspicion this is going to be one of the best nights of my life,” said Noah Kahan, 25 year old folk-pop artist. My suspicion, which was eventually proven right, was that Kahan was speaking for himself and his fans that night. 

On Oct. 22nd, 2022, Noah Kahan created a community during his show at Boston’s MGM Music Hall at Fenway. Like many shows on his “Stick Season” tour, named after his recently released album Stick Season, this show was completely sold out. 

Alternative/indie artist Adam Melchor opened the show with an impressive cover of “Somewhere Over the Rainbow.” Melchor was the sole instrumentalist during his set, effortlessly carrying his own. His set consisted of songs off his recently released album, and appreciative comments about touring with Kahan.

The lights went completely off as Kahan’s band started powerfully playing. Kahan walked out in a reserved manner, immediately eliciting a reaction from the crowd with his presence. Illuminated by the blue stage lighting, he smiled and pointed the head of his guitar towards the crowd. 

Kahan opened with “False Confidence,” maintaining the songs’ demanding, upbeat vocals and instrumentals, all while running across the stage. His next song, “All My Love,” showcased not only his vocal range (and the fact that he rocks the ukulele) but his talent of easily eliciting a powerful emotion from the audience: love. The room was filled with it when he powerfully sang the lyrics, “There ain’t a drop of bad blood, it’s all my love / You got all my love” with a smile on his face.

After the song ended, he introduced himself. “I’ve been called the Jewish Ed Sheeran,” Kahan joked, immediately letting his personality shine. He confessed that he was already so sweaty due to his fur lined jacket (which he eventually took off later in the set, making a bit out of it). 

After the quick introduction, his band left the stage for Kahan’s solo, acoustic set of “Glue Myself Shut” and “Growing Sideways.” With just an acoustic guitar and subtle stage lighting, he created a remarkable intimacy in such a large venue. The band returned and continued adding to the shared intimacy with the crowd. During songs like “Everywhere, Everything,” “She Calls Me Back,” and “Northern Altitude” — several songs from his new album — the audience experienced a collective effervescence. From friends dancing together and screaming the lyrics to couples sharing loving looks, Kahan proved that he could do more than create music: he could create a community. 

Kahan knew how to own a stage, but he also knew how to share it. During several instrumental solos, specifically with the lead guitarist, he moved back, letting the guitarist fully take the spotlight. His band’s vocals provided beautiful harmonies during “Carlo’s Song” and “Come Over.”

The musical stories he told through his stage presence and musical choices were entrancing. During “Homesick,” he and his band worked together through vocal build, powerful harmonies, and dynamic instrumentals to create an incredible musical crescendo, cascading through the crowd. In “Youngblood,” he made up an alternative rhythm at the end of his song for “Rub your eyes, be surprised, keep hungry / Stay alive, try to lose all of your money,” catching the audience off guard. It felt like he wanted to emphasize those lyrics to the audiences, making expressive eye contact all around the room like it was a message he wanted each and everyone of us to know. 

Kahan and his band then pretended the show was over, teasing the fans by walking off stage. At many concerts, this elicits a wavering chant of the performer’s name — but with Kahan? It was a constant cheer that never ended. It was obvious that his fans would wait until midnight if it meant they were to get a proper encore. 

When Kahan returned, he sang “The View Between Villages,” another song from his new album. In a venue holding 5,000 people, someone from the back of the pit screamed, “YEAH NOAH!” bringing a smile to Kahan’s face. After, Kahan sang — arguably the most anticipated song of the night — “Stick Season,” the song that jump started his rising popularity. Everyone in the room, whether they knew the lyrics or not, evidently loved it, including the band members on stage who laughed out of pure enjoyment. Joy and gratitude radiated from Kahan, as he again pointed his guitar at the audience and then clapped when the song finished. I now realize that this gesture was his way of hinting to the crowd that this show was not his, nor mine, but it was ours. A collective effort. He concluded with “Mess,” a nostalgic ode to his first album, Busyhead. 

“There are some nights I thought about quitting,” Kahan vulnerably shared. “But there are nights like tonight that make it worth it.” With the show that Kahan put on, I argue that he, again, also spoke for the audience.