This article appeared in the Feb. 26, 2003 Cambridge Chronicle

From Open Mic to Open Road

By Susie Davidson

CORRESPONDENT

“I'm that topical songwriter you've heard about,” wrote James O’Brien in a recent missive. “I’m firing off a volley of shows this February 2003,” he continued, while plugging a special hometown appearance tomorrow evening at Club Passim, 47 Palmer St. in Harvard Square.

When in town, O’Brien, who books the Java Hut in Worcester, hosts Passim’s Songwriters’ Open Mic on Tuesdays, and the Monday Open Poetry Mic as well. He’s played regularly at the club for two years, following the release of his 2000 LP, Life Underwater. Tomorrow at 8 p.m., he’ll perform his first full-length, non-band solo show in over a year at the venerable venue, which will showcase his upcoming follow-up record.

A Massachusetts native, O’Brien has spread his dynamic, spontaneous and energetic stage presence throughout the Northeastern U.S., creating a base of support among artisans of all persuasions in the process. “I’ve assembled writers, poets, singers, sculptors, painters, folkies, punkers, rockers, old people, young people, who respond to a lyrically intensive, challenging, emotional concert environment,” he said.

Moving to midwestern tours, he’s recently acquired the services of Philadelphia’s Square Peg Booking, along with those of several interns and a touring band.

O’Brien sets his domain within early-to-mid-60s Bob Dylan/Phil Ochs territory. “It’s in the general direction of “Talkin' John Birch Society" meets "Pastures of Plenty" meets "Changes" via "Desolation Row," and the time on the clock on the wall reads "It's the End of the World as We Know It (And I Feel Fine),” he explained.

He stressed that folk music can rise above its pigeonholed status of Adult Album Alternative to become meaningful, aggressive and entertaining. Aiming to recapture the revolutionary enthusiasm of “The Times They Are A-Changing” amid the laundered sounds of the family folk festival, he maintains a fresh independence that is anything but derivative.

“I’ve been watching socio-political songwriting experience a tremendous upturn since 9/11, and what seems to be a probable U.S.-led war in the Middle East,” he said, adding that the time for his assuming the topical troubador role had indeed returned. “I seem to be answering a lot of questions about what it means to write about one's government, one's national identity and one's experience of America in particular.”

But this is not without commercial, disingenuous risks. “My sincere hope and fear is that topical songwriting will become a ‘career move’ for hungry songwriters,” he said. “I hope it does, because it will mean greater exposure to the issues and identities the lot of us have tackled since Day One. But I fear it will also open the whole approach up to harsh criticism if it is founded on opportunistic writing.”

O’Brien has sought out and played with like-minded, spirited folkies-with-edges, who have included Dan Bern, Bill Miller, Hamell On Trial, Pamela Means, Chris Chandler, Michael McDermott, Jim Infantino of Jim's Big Ego, Rose Polenzani, Freedy Johnston, Randy Kaplan, Gooselove & Joe Bridge, and Adam Brodsky. He’s also shared bills with Howie Day, DaVinci's Notebook, Sam Shaber, Edie Carey, Andrew Kerr and Robbie Schaeffer.

“My angle on this show is that it captures my project precisely at a

crossroads,” he said. “We're trying to make Thursday night a great success for the audience, the whole socio-political/topical song genre and the good folks at Club Passim,” he said.

James O’Brien at Club Passim, 47 Palmer St., Harvard Square, Thursday, Feb. 27 at 8 p.m. Tickets are $10 in advance, $12 at the door. For reservations, please call 617-492-7679 or visit http://www.clubpassim.org. Opening will be Michael McDermott.