The sudden rise of viruses worldwide reminds us of the lingering effects of the pandemic that shook the world six years ago. For musicians, the time meant the immediate suspension of touring plans, replaced by isolation and introspection, with writing songs alone in an unsettled time.
Such introspection has always been a part of Sam Beam, who performs thoughtful, tuneful chamber folk under the name Iron & Wine. He created so much music during the shutdown days, it’s still coming out. The new Iron & Wine album Hen’s Teeth, largely recorded when he made his last album Light Verse in 2024, is the basis of his current tour, which played a rich, sold-out stop at Washington’s 9:30 Club last week.
Eight of the 10 songs of Hen’s Teeth were played, with just three from the previous Light Verse. But those few were already treated like classics, such as “All in Good Time,” which became a sing-along high point.
Beam in his chest-long beard and wiry, greying hair may look like a fiery, vindictive prophet (and his band, in their shades of red and maroon, disciples). But he comes off as a kindly and benevolent soul on stage, engaging easily with the charged-up crowd, who were just as happy to hear all the new music.
With a smooth voice and an endless array of Taylor acoustic guitars, his roadie kept bringing out, Beam often tours solo. But for this leg, he led a band that tastefully enhanced his approach. On one end of the stage came the inventive drumming of Beth Goodfellow, dressed in a ruby evening gown, surrounded by all manner of wooden windchime gee-gaws (she even played spoons to “Freedom Hangs Like Heaven”).
At the other end of the stage was keyboard stalwart Rob Burger, whose work couldn’t be more subtle. Behind them, double bassist Katie Ernst provided much of the indispensable backing vocals; Emily Mann added sweet fiddle parts.
Beneath an unusual college of shapes and chains like oversized intertwined charm bracelets, they churned out a varied sound that well-framed his disarming, humane, and original verses.
One song, “Paper and Stone,” posed a relationship in terms of the game Rock, Paper, Scissors. The reverie “Dates and Dead People” seemed inspired by the stories left by tombstones or at least time gone by. Another newer song, “Singing Saw,” didn’t use the title’s old-timey instrument (though two on stage had bows and could have given it a shot).
Last time out this way, Iron & Wine played Wolf Trap, supported by bluegrass darlings I’m With Her, who had collaborated on a pair of songs that ended up on Hen’s Teeth. “They’re home polishing their Grammys,” Beam cracked near the end of his show. So he brought out his opening act, the Atlanta-based Improvement Movement, to help fill out one of those songs, “Wait Up.”
Looking like errant members of Seals & Crofts or Brewer & Shipley, the quartet prides itself on vocals, individually or together in an unmistakable stab at Crosby, Stills & Nash. So they might have been a good fill-in despite the hippie-dippie attire.
