The couple in the row in front of me had come in early, checking their phones and ignoring each other until Dean Friedman took the stage at the glorious Prestonfield House venue. They both lit up with smiles and kept beaming from start to finish.
The trio on the end of my row snuck in late, giggling and chatting, but almost immediately stayed transfixed as if in a hypnotic lure. If it wasn’t for them singing along, then I might even have started to get worried.
Undoubtedly, there’s no doubt McDonald’s Girl Dean Friedman had a small army out to see him tonight. I was happy to do so as it was my first trip to Prestonfield House, and The Stables is lovely.
The catch? I barely knew Dean Friedman at all and perhaps only knew the name because the BBC had banned McDonald’s Girl back in the day. I was there on a whim for the music and something new.
Friedman took the stage looking a bit more rosy-cheeked than his posters, making the speakers plop loudly as he plugged in his guitar, messed up the first line, apologised and started again.
Uh-oh! I started to have unkind thoughts about why the songwriter’s face was blushing. It didn’t help that the first song was well-sung but a conservative ballad.
Had I made a mistake?
The Performance
Dean Friedman solos were aided only by a lot of singing and instrumental talent. He moves from guitar to piano, and there’s often a little story between songs.
I think he gets the balance of chat and music about right. There’s the occasional pause for thought or muddle, but it’s conversational, and, importantly, Friedman seems to be clear what fans are here for—the music.
Songs like McDonald’s Girl, Lucky Stairs, Ariel, Jennifer’s Baby and a new favourite of mine God of Abraham are played and played well. Friedman’s voice might be immortal; it sounds as good live today as it does on Spotify.
As it happens, the gentle start is not representative of the whole. Sure, Dean Friedman blends very soft rock with emotional pop. There’s no hard rock here. Pour a whisky, hide from the winter rain and listen to Friedman. That’s the music. This is not workout, make-out or drive-around-town music.
The Story
The first hour was good enough. Friedman’s distinctive voice and the rapt attention of his fans held my interest.
At the hour mark, we had McDonald’s Girl, which began with a disclaimer. The album’s songs are teenage ballads, and McDonald’s Girl is from the perspective of a young teenage boy with a crush.
The McDonald’s Girl covers may be more famous than the original, and they’ve changed the age of the original girl. In Freidman’s song, she’s 15 and a virgin. He innocently points out that it’s supposed to be that first blush of awakening, a crush, and surely that’s better than a song about a sexually experienced 16-year-old.
Perhaps it was his melodious voice, but I believed him. It’s a conversion he has to have often. I believe nothing creepy was intended in the song, but I don’t think he was a naive singer-songwriter when he wrote it. Barely two songs later, he’s singing about SM. On Spotify, I see he has a song called Fuck Buddies.
Decades later, when McDonald’s finally got in touch with him about the song – they wanted to use it, not age the girl but drop the reference to polyester in her uniform. Such is life.
Then there’s the story about Half Man, Half Biscuit, which is funnier and leads to a better song.
So, I rate the last third of Words and Music higher than the first hour as we have weird stories from the days of yore and more energetic music.
Overall
I’ll absolutely go to Prestonfield House again, ideally in the sun.
I’m also glad I saw and heard Dean Friedman live. No singer I know sounds anything like him. He’s charismatic, perhaps occasionally distracted on stage, but he holds the crowd well.
If a Friedman fan wants to take you, accept the offer. If, like me, you’re curious, go if you can happily sit through at least an hour of lyrical pop. I want to say ‘crooner,’ but I’m not sure that’s the right word.
If the combination of ‘crooner’ and piano puts you off, this gig isn’t for you.
A review of Dean Friedman – Words and Music
Summary
Dean Friedman’s “Words and Music”, named after the album, is a delightful evening of unique lyrical-pop music, ideal for fans and those open to the crooner style, but not recommended for those who dislike this genre.
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I heard him in Glasgow. He has the most incredible voice and audience rapport. I’ve never been to a gig with such warmth. All were singing along.
Didn’t find him distracted in the slightest.
I thanked my lucky stars I went..
Saw him last year in Manchester. He has an incredible voice and creates a wonderful vibe. Love his songs and harmonies particularly on songs like Lydia and Solitaire. Brilliant evening with a top musician and performer. Disagree completely with the “crooner” tag as his voice is so dexterous and bright. Agree about him holding the audience and the lovely mood he creates.
I’ve seen Dean twice at Edinburgh. I also have his early LPs and singles. His hits immediately take me back to the 1970s. He is a clever wordsmith and gifted musician. Check out the videos of a young Dean singing Lydia on Top of the Pops . I hope he will be appearing next year because we are going. Highly recommend @
Honestly … Dean is timeless. I saw him a couple of years ago in Welwyn Garden, at a small pub. It was perhaps one of the best gigs that I’ve ever been to. The sense of ‘connection’ with the audience was remarkable and his voice was astonishing. I dunno how old Dean is—got to be at least 100 because I remember listening to him when I was at college and I’m seriously OLD—but his talent hasn’t diminished at all. If you get the chance to see Dean, do it. You won’t regret it.