DEVENDRA BANHART / KATH BLOOM PLAY LIVE AT ICA – BOSTON
By Rick Fleck
Devendra Banhart and Kath Bloom play live at the Institute of Contemporary Art in Boston.
The current Devendra Banhart tour, celebrating the 20th anniversary of the album Cripple Crow, came to Boston’s Institute of Contemporary Art (ICA) September 18, 2025. It might seem like an odd venue for a concert, but it was a perfect fit. It was very satisfying and rewarding to wander through art galleries, instead of standing in line on a dirty sidewalk, as we waited for the doors to open. The museum’s 400-seat theater, which was sold out, had excellent sight lines and impeccable sound. The stage design was minimalist in the best way.
Devendra Banhart began his show with little fanfare, playing the 25 year old song “A Sight to Behold.” He then told us he was going to play the set in chronological order, from oldest to newest. Before launching into “The Body Breaks” from Rejoicing in the Hands, he encouraged us to “yell out — I’ll play anything!” “At the Hop” marked the first appearance of Banhart’s distinctive vibrato. His voice was especially evocative, reminding me of British folk superstar Donovan.
Photos Rick Fleck
“Little Yellow Spider” was a playful, childlike tune filled with quirky animal imagery. At one point, Banhart forgot some of the lyrics, but he handled it with humor and ease. When it’s just you and an acoustic guitar on stage, mistakes are hard to hide, but he turned the moment into something endearing.
Banhart’s songs are open and confessional. They feel intimate and he’s not afraid to bare his soul. That quality creates an emotional connection with the audience, often resulting in a cathartic experience. He also has a great sense of humor. Between songs, he told stories and made jokes, even reading some that he AI-generated about Boston. His mellow, conversational style put everyone at ease.
“Santa Maria de Feira” brought a different energy. Sung in English and Spanish, it blended ’60s folk and psychedelia with a salsa beat. The melody was unexpectedly reminiscent of David Gilmour’s guitar work on Pink Floyd’s “Run Like Hell.” Followed by standout, “Angelika,” the song also evoked Donovan, its lyrics and tone recalling his hit “Wear Your Love Like Heaven.”
Dorothy Berry, Digital Curator at the Smithsonian’s National Museum of African American History and Culture, joined Banhart for a duet on the song “Bad Girl.” For the song, he switched to electric guitar, creating a rich, resonant sound that filled the room. The synergistic harmonies of the duo brought to mind indie folk band Fleet Foxes.
Later in the set, Devendra Banhart opened the floor for requests. The first came from someone calling out for Justin Bieber’s “Boyfriend.” He played a little of it, earning laughs from the crowd. Then he played snippets of his own requested songs, further breaking the fourth wall. We also learned that Joan Rivers is his favorite robot in Spaceballs, which was both out of left field and hard to argue with.
“Carmensita” brought high energy, theatrical flair, and vibrant instrumentation and was a fan favorite. Banhart played “Golden Girls” with a thumb strumming style giving it a warm bass tone, showcasing his skill with the guitar. “Good Time Charlie” included the line “Every look begins with a surprise.” It was a fresh take on a song about relationships and the challenges of forming deep, meaningful connections, with a light touch of reggae.
“Rosie’s Birthday” opened with a riff reminiscent of “In The Beginning” by Emerson, Lake and Palmer. The riff returned later in the song, tying together a repeating motif. The final song was “Charger,” from his most recent album, Flying Wig (2023), fulfilling his promise to play the set in chronological order. “Charger” is a captivating song with a tongue-in-cheek approach to a troubled relationship.
For the encore, Banhart was joined by the opening act Kath Bloom and David Shapiro. In the American Folk Revival tradition, “Forget About Him” featured the haunting lyrics:
The flowers are in bloom,
Well it just makes me more lonely…
Now I know that it’s going to be rough, rough, rough
To forget about him.
The trio performed like a group of close friends singing around a campfire. “Forget About Him” is a Kath Bloom original. Devendra Banhart expressed much admiration for her throughout the show.
Banhart’s arrangements were stripped-down and spare, the emphasis on the lyrics. The volume level of the performance was so low and subtle that even my camera shutter felt disruptive. The audience however, remained adoring, respectful, and attentive.
The opening act was Kath Bloom, an influential American folk singer-songwriter from New England. She was accompanied by singer and guitarist David Shapiro. Bloom’s recording history began in 1976 and since then she has become a folk music institution. With age, there is an occasional tremor in her singing voice, and perhaps she no longer hits all the high notes she once did. But these vocal qualities, shaped by years of performing, convey experience and imbue her singing with a deep sense of authenticity. The vocal limitations that come with age do not diminish her performance; they enhance it.
Photos Rick Fleck
Bloom began her set with “Just Can’t Handle It” with a Bob Dylan vibe as she accompanied herself on harmonica. “Your House was Burning” was dryly introduced as “a song about a house burning down. Another cheerful song.” The energetic number “Brand New” asked you to contemplate that “You might find yourself in the middle of a promise you made.” Apart from clear folk influences, the impact of Jimmy Buffett, the Eagles, and the aforementioned Bob Dylan, among others, was evident.
The wistful and melancholy “Bye, Bye” was introduced as the last song of the set. However, due to the enthusiastic audience reaction, an unplanned encore, the sing-a-long “Shirt Off Song,” was added. Listening to Bloom and Shapiro, you felt like you’re sitting on the front porch of a farm house on a late summer night.
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