Concert Review: David Duchovny Delivers an Intimate and Engaging Night at Union Chapel

54 minutes ago

3 min read

The cheers inside Union Chapel were enough to make you forget this was a functioning church. David Duchovny’s arrival brought an immediate, jubilant response from a crowd ready to spend the evening with him. An earlier meet and greet had given fans their moment up close; now, the stage belonged to Duchovny the musician.

Taking to the stage, Duchovny opened with Spiral, followed by Nights Are Harder These Days and Every Third Thought, the set moved through his catalogue with the support of an excellent band. There was plenty of affection coming from the pews, but the stories between songs gave the evening much of its character. Duchovny was funny and thoughtful, and happy to share the ideas behind his writing.

Even a microphone problem became part of the entertainment. Towards the end of Let It Rain, the equipment began to falter. Duchovny acknowledged it before addressing the offending microphone: “How dare you betray me in front of these people.” With this audience firmly on his side, it was a betrayal he could comfortably handle while the microphone was changed.

Introducing Everyone Gets Lost, he spoke about the need to stop shaming and blaming people when they lose their way. It was a compassionate thought, yet also reflective, and a fitting introduction to the song. Layin’ on the Tracks prompted an explanation of his need to put his political views on record before the 2020 US election, complete with a pointed description of “a stupid orange man in a cheap red hat” and a rather less printable alternative rhyme.

The humour continued with Godzilla. “This is as sci-fi as it gets tonight,” he announced, neatly acknowledging a familiar part of his career. London brought a more personal connection to the room. Duchovny spoke warmly about his love for the city, explaining that the song’s opening line had been inspired by Sylvia Plath’s letters in her final years. Duchovny had mentioned previously in interviews that Plath was a strong influence on his own song and poetry writing.

The main set closed with Prince of Pieces, a strong title track from his new album and a fitting way to bring its first chapter to an end. The audience, predictably, had no intention of leaving it there, chanting for their hero to return.

Duchovny and the band returned to the stage, offering a beautiful rendition of Lou Reed’s “Perfect Day”, which proved a particularly well-chosen cover. Its unhurried delivery suited Duchovny, while the crowd sang along word for word. It was one of the evening’s clearest moments of connection.

Hell or Highwater followed, leading us to When the Whistle Blows which supplied the climactic finish. As the audience joined Duchovny in the chorus, the song took on an anthemic scale, making this church feel momentarily as big as a stadium.

In a world of dualities, David Duchovny is a refreshing example of how someone can carry two successful careers in the public eye. His performance was engaging from start to finish, but it’s looking into the lyrics of what he’s singing where you see just how established a songwriter, he is, turning experiences and observations into music that drives an audience crazy.