Concert review: Paul Thorn plays to a raucous reception at Skipper’s Smokehouse, Tampa

The local popularity of Southern-reared blues/roots rock singer-songwriter Paul Thorn seemed to hit its peak this Saturday at Skipper's Smokehouse. By 8 p.m., when opening act Beth McKee took the stage, the parking lot was already a post-apocalyptic portrait of abandoned cars strewn up and down both Skipper Road and Nebraska Avenue. McKee serenaded 

a full house behind a keyboard and at some point, pulled out an accordion while bandmate Tim Kelliher accompanied on ukele and then a Martin six-string, her Mississippi drawl coming out in her banter with the crowd though not so much in her gospel-tinged mix of blues, zydeco and country rock. McKee's Southern-soaked rendition of the Bobby Charles ode, "I Don't Know Why I Love You But I Do," proved a highlight and set the stage for Paul Thorn. 

By then, people were pressed in so tight against the stage, it was hard to negotiate a trip to the bathroom or bar; WMNF Program Director Randy Wind called it an official sellout, and claimed it was one of the biggest crowds he'd ever seen at a Skipper's show.

Thorn is a bonafide Southern rock star but has a refreshing accessibility, common-man appeal and a connection to his audience that are all hallmarks of his popularity. In fact, he took about 100 selfies with adoring fans before the show between one trip from backstage to the bar, engaging each one like they were old friends. 

He wasted no time establishing his deeply personal relationship with his audience on this night with an intimate "acoustic" set to kick things off, every instrument plugged in but every musician seated and playing on acoustic instruments, with drummer Jeffrey Perkins perched atop a Cajon box drum.

Thorn gave a heartfelt introduction before launching into set opener "Turnip Greens," a song that finds him reciting a list of culinary delicacies from the South and proving perfect fare to get the set started. He followed it up with a tender ode, "Love On Me" and then went straight into a cut off just released Too Blessed to Be Stressed, "I Backslide On Friday," Thorn's lyrics filled with undeniable sincerity and showing just how he manages to captivate audiences across the country. He wrapped the acoustic set with an anecdote referencing his previous career as a boxer and specifically, a match against Roberto Duran, which inspired a tune anyone can identify with, "Hammer & Nail." (You can actually watch the fight on YouTube.) It's emblematic of Thorn's whole persona and musical repertoire. He comes from such a real place and his music has such a broad range of appeal, it's no wonder the packed house boasted one of the widest array of age and ethnic diversity I have ever seen at a show.

A short break saw the house pack in even closer for what Thorn described as his "rock n' roll" set. He kicked off the high-octane performance with signature tune, "Everybody Looks Good at the Starting Line," and proceeded to cycle through other favorites like "I Don't Like Half the Folks I Love," "Pimps and Preachers" and "What Kind of Roof Do You Live Under?" along with a rocking cover of Solomon Burke's "Everybody Needs Somebody to Love" that proved particularly energetic. His between-song banter found him sharing stories about his family, adventures and misadventures, his sincerity so pure and genuine, it was impossible not to connect to him and his songs. And his fans are so tuned in that he can stop in the middle of virtually any song and let the fans call back the lyrics, as he proved with several numbers throughout the night.

Lead guitarist Bill Hinds found plenty of opportunities to solo during the second half of the set and gave credence to Thorn's claim of Hinds being one of the best guitarists in the country. As Thorn launched into "Bull Mountain Bridge," a mist gradually descended on the Skipperdome, casting an ethereal glow on the evening even as the tempo ramped up and the bodies began moving in earnest. Even keyboardist Michael Graham got in on the action, getting up with his tambourine and dancing about the stage before stepping up to the mic with bassist Ralph Friedrichsen to deliver backup.

Thorn's music has this 1950s rock vibe with an undeniable blues and modern roots feel, the gospel undertones paired with audience call-backs evoking the feel of a preacher addressing his congregation. Thorn attempted to leave the stage at 11:43 p.m. after laying down scorching set closer "Mission Temple Fireworks Stand'," but the crowd was having none of it and Thorn returned to the stage in minutes, sauntering out into the audience as he delivered his encore and wrapping the show with a virtual love fest as he made his way to the back of the Skipperdome and treated scores of eager fans to a moment, a photo or some brief witty dialogue.

Thorn launches a tour of the West Coast after the holiday break; hopefully Skipper's and WMNF will pair up to bring him back to Tampa again real soon after that…

This article appears in Dec 4-10, 2014.