Making his first Dallas appearance in six years, Amos Lee was joined by the Dallas Symphony Orchestra.
Provided by Amos LeeIt was late in Friday night’s roughly 100-minute set, as singer-songwriter Amos Lee, his four bandmates and the Dallas Symphony Orchestra, led by conductor Andrew Lipke, collectively leaned into the amiable, sweet shuffle of “Flower,” from Lee’s 2011 albumAs the song gathered steam, those gathered within the Morton H. Meyerson Symphony Center could contain themselves no longer.
Amos Lee performs with the Dallas Symphony Orchestra at the Morton H. Meyerson Symphony Center, March 22, 2024.Pairing pop or rock artists with orchestras can be a loaded proposition. The orchestra is like a fine sports car, full of power, nuance and elegance, and in the wrong hands, it can sit mostly lifeless behind the collaborating artist — lovely to behold, but not particularly additive. The fear of being overwhelmed can stifle the collaboration before it even begins.
The night, cleaved by a 20-minute intermission, was elastic enough to incorporate a portion of Beethoven’s “Piano Concerto No. 5 in E-Flat Major” as an introduction to Lee’s shattering “Madison” as easily as it pivoted into the glorious greasiness of Lee’s 2008 song “Street Corner Preacher,” which featured surprise recurring guest Mickey Raphael’s steely harmonica stabs.
The joy was balanced by the melancholy, which often yielded the night’s most transfixing moments — Lee’s otherworldly voice, a multi-octave wonder capable of guttural rawness and ethereal falsetto, made fine use of the Meyerson’s impeccable acoustics, often taking flight in pin-drop silence.
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