Dierks Bentley at the Borderline in London by Gem Nethersole
In the dark, incense-scented, sticky heat of The Borderline a chain of audience hands pass a “Domestic, Light and Cold” beer to Dierks Bentley. It’s a hot night in London and hotter still in the intimate venue. He’s had to sing crowd-pleasers and make repeated requests, but the international star has finally had his wish for a cooling drink granted. We don’t coax country stars to the UK very often but when we do, we want them to keep coming back. Dierks has so far fulfilled his promise to do just that, having regularly played some of London’s finest, often smallest venues.
Bentley has given his fans the chance to see him and the band in the kind of setting that global audiences rarely experience. The Borderline is sold-out but even at full capacity it only accommodates 275, creating the feel of an impromptu gig in a bar rather than a pre-planned event. Ducas’ family are in the audience and Bentley takes requests and chats happily to loyal fans (or ‘dierks road trippers’ as they’re known).
George Ducas is supporting but he rallies the audience to a fever-pitch that suggests they are equally happy to see him. He opens with self-penned hits, such as “Never Say Die” written for the Dixie Chicks and “Beer Run” for Garth Brooks and George Jones before unveiling “Lipstick Promises” and material from his new album including “Every Time She Passes” featuring audience participation at its best.
Anticipation is running high, the audience are on tip-toe, fanning themselves with ticket stubs and cds to try and keep cool as they wait for Dierks. There is no dimming of the lights or grand introduction, just a singer and his band, who stroll on-stage and blast into high-octane hits that span all three albums. “How am I Doing”, “Free and Easy Down the Road I Go” and “What Was I Thinking” have the crowd jumping with Dierks. Then the mood shifts when the ballads interject and break up the rock. “I’d Settle for a Slowdown” and “Come a Little Closer” meet with rapturous applause, while “Modern Day Drifter” has a poignancy to it that creaks with the kind of emotion you only get from days spent on the road leaving loved ones behind.
A journey through the different styles of country music via Marty Robbins, Buck Owens, Don Rich and Waylon Jennings provides Dierks with a hiatus from the spotlight as he allows his steel guitar player, Tim Sergent , a moment to shine as he creates a sound so inherently country it seems wrong to be in England.
Shirking the usual encore protocol, the heat keeps the band firmly on stage for the traditional Johnny Cash tribute and “What was I Thinking” finale as plectrums and drum-sticks rain on the audience.
A showcase of hits, a shirt and a lot of sweat lighter, another Dierks Bentley gig leaves Brits wishing they were a little closer to the US so they could see him more often. He did promise, before an audience of witnesses, that he and the band would return every year. A promise is a promise after all. Hopefully he’ll be true to his word.
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