The Zach Bryan concert was an exciting night for the community, and it certainly did not fall short of expectations. The crowd indicated a nearly sold-out show; it looked like every section was completely packed with groups of boys in trucker hats and blue jeans and girls in white skirts and cowboy boots. Expectations were astronomical, but the show did not disappoint. Irish singer-songwriter Dermot Kennedy and American comedian Shane Gillis were strong openers, with Kennedy’s melancholic ballads and Gillis’ crudely witty (and only somewhat apologetic) storytelling. These two voices, paired with Bryan’s compelling melodies and powerful lyrics, created a particularly masculine presentation of longing and emotional dissatisfaction. One of Bryan’s opening lyrics, “I want to hear my father say that he loves me,” seemed to center the mood appropriately. It’s a powerful statement, perhaps made even more so by the illumined image of Touchdown Jesus that hung in my point of view. Zach Bryan’s brand is certainly soulful and unmoored, and these motifs showed their face in the show’s incredible special effects and video setup.
Dermot Kennedy opened the show beautifully. He has incredible vocal talent and set the tone with his gorgeous and mournful ballads. One thing I loved about his performance was his sweet and charming commentary between songs, which connected with the Notre Dame community through his patriotism for his home country, Ireland. He specifically thanked ND for raising the Irish flag in the stadium, sharing the beautiful sentiment, “We’re all home.” Some highlights from his performance include his song “Outnumbered” and his rendition of the Irish ode “Carrickfergus.” Though many in the audience may not have come to the concert particularly familiar with Kennedy’s work, I definitely believe that all of us left as fans.
Shane Gillis performed his set shortly after, and it was a bit of a mess, yet received a lot of cheers and laughter from the audience. I give him credit for the difficult nature of performing stand-up in a stadium, since comedy is typically meant for smaller venues and more intimate audiences. His content centered around what it’s like to be a man in the 21st century, so it was certainly appropriate for the running themes of the evening, though the appropriateness pretty much stopped there. I will not pretend he wasn’t funny, because his set certainly contained some strong moments, but between the story about group masturbation and the catastrophic ending about spooking a pride parade, there was certainly some tension in the audience. I guess he was perfectly on brand for himself, so those not okay with his humor probably knew going in that it would be way over the line. Altogether, however, his stories emphasized the importance of community and brotherhood, which ultimately contributed well to the themes of the evening.
One perfection in Zach Bryan’s set was the overall aesthetic. I really liked how the lighting design, set and filmography paired with the motifs in his music. Many of his songs were featured alongside excerpts from their music videos, which added a “mojo dojo casa house” — type vibe to the stage. His video directors put together some masterful compilations of early 1900s and 1960s Western-aesthetic footage of vintage trucks, old men with cigarettes, dusty landscapes and brotherhood. These film moments, along with the often black and white or dusty live shots of Bryan and his band members, added a lot to the vibe of the show. A particularly special moment for the effects was Bryan’s song “Something in the Orange,” when an array of saloon-style art deco chandeliers lowered into the audience’s view. It was very cool and added another interesting lighting element to the remainder of his songs. All these elements were crucial to the event’s overall entertainment value, since Zach Bryan’s rather uncreative and repetitive commentary between songs lacked that zing of personality that audiences typically enjoy.
A particular highlight of the performance was the full band, whom Bryan was sure to feature and shout out throughout the night, especially in his last song, “Revival.” His band included the usual drums, guitar, bass and keys, as well as a fiddler, a brass group and a string quartet. The overall effect was stunning. Bryan’s song “East Side of Sorrow” featured the horns gorgeously, and “Don’t Give Up on Me” presented a beautiful solo moment for the strings. Something I loved that tied the two groups together was the cutesy interspesral of choreography that brought a sense of whimsy and cohesiveness to the stage.
Bryan and his band wrapped the evening up with several of his best songs, including the unreleased “Dry Deserts,” which will come out in his upcoming record. The crowd was also excited to see the return of Dermot Kennedy for a duet with Bryan, who revealed that the two had met and become friends several years before. After a momentary break, the stage was reilluminated for a strong ending, the crowd-pleaser “Revival.”
Though I definitely believe each song contained moments of beauty, some particular standouts from the night for their interesting rhythms, compelling melodies, thoughtful lyrics and/or visual effects were “Blue Jean Baby,” “Tourniquet,” “Nine Ball,” “Burn Burn Burn,” “I Remember Everything,” “River Washed Hair” and “Heading South.”
Overall, the night emphasized for me the importance of brotherhood, self-expression and interior thoughtfulness. Perhaps I was bewitched by the ambience and emotional effect of live music, but I definitely enjoyed the cohesive vibe and fraternity of the event, and it seems that the Notre Dame community did too.
