James McMurtry – June 28th – Globe Hall

Photos by Tim Dwenger

Friday evening that showcased the raw authenticity and storytelling prowess that have cemented James McMurtry’s place among the great American troubadors. Walking into the cozy, intimate setting of Globe Hall, you could feel the anticipation in the air—a mix of longtime fans and curious newcomers ready to be swept away by McMurtry’s narratives. The venue, with its rustic charm and great BBQ, felt like the perfect backdrop for an artist whose lyrics often evoke the heartland’s gritty, real-life stories.

The night kicked off with “For All I Know,” immediately immersing the audience in McMurtry’s signature blend of vivid storytelling and rich, twangy guitar work. His unique voice, unpretentious and compelling, resonated through the hall, making even the newest of fans feel like they were part of something special. As the set progressed, songs like “Childish Things” and “Copper Canteen” demonstrated McMurtry’s knack for marrying incisive social commentary with infectious melodies. Each note, each word seemed to carry the weight of countless miles traveled.

Midway through the show, McMurtry treated the audience to “a medley of our hit” and he proceeded to drop into the epic and rambling “Choctaw Bingo.” The energy was palpable as people sang along with every word. It felt like a communal experience and James capitalized on the moment by stepping to the front of the stage and asking for some “auxiliary lighting” for a solo, acoustic, unamplified performance of “Blackberry Winter.” I’ve seen him do this before, and it’s always satisfying in a room like the Globe

After a trio of tunes from his brilliant 2021 release The Horses and the Hounds, opener BettySoo joined him on stage for “Color of the Night” and a personal favorite of mine, “Canola Fields.” His ability to convey complex emotions and vivid imagery through simple, yet powerful lyrics was on full display. The crowd was mesmerized, some with eyes closed, lost in the melodies and the stories unfolding before them. Globe Hall’s intimate setting amplified this connection, making each song feel like a personal confession shared amongst friends.

Closing with “Too Long in the Wasteland,” McMurtry left the stage to a thunderous ovation, the crowd’s applause a mix of appreciation and begging for more. The encore featured a spirited tribute to the late Kinky Friedman with “Wild Man From Borneo,” and after even more applause pulled McMurtry from the Airstream backstage that serves as the green room, a second encore brought a solo rendition of “These Things I’ve Come to Know.” As the lights came up, there was a sense of shared understanding among the audience—an acknowledgment of having witnessed one of the best. Globe Hall, with its welcoming vibe and close-knit feel, continues to be a great venue for McMurtry’s evocative performances.