Elliott Smith took the stage in a Stones t-shirt and trademark wooly hat, together with bassist and drummer, they formed a compact three-piece. Smith mostly shunned the acoustic guitar which forms the earthy basis of his last two albums in favour of a Gibson which produced an altogether rockier edge to his introspective torchsongs. Beginning with the relatively upbeat 'Bled White' from XO a melodic burst of guitar rock enhanced by Smith's subtle vocal. Already glaringly obvious was an the performers painfully acute shyness, standing left of centre, and barely introducing songs. He does, however, grow in confidence palpably throughout a spellbinding performance.

The first half of his set draws mainly from XO his latest solo album for new label DreamWorks. Songs such as the spindly recent single 'Waltz#2' and the bitter-sweet bounce of new single 'Baby Britain' who 'Floats on a sea of Vodka..[and] fights problems with bigger problems,' draw welcome reactions. The huge disparity between his meek speaking voice and strong singing voice are evident, when he takes a moment to introduce his band. Such plesantries aside he launches into an aching rendition of '13' by Big Star. Sweet harmonies aside it is Smiths intricate riffs and inexorable hooks that make this all so satisfying. Moving onto the rough edged, rawer material from 'Either/Or' the tunes are still ten-a-plenty. 'Speed trials' boasts an unforgettable chorus, and the sheer faded brilliance of 'Ballad og Big Nothing' is resplendent live. Smith informs us that this is the last date of a long tour, plays another great song and departs - only to reappear alone under the spotlight.

This is what we've all been waiting for....

"You want happy or sad?" he asks. As most of his songs are essentially a dichotomy of both, there comes a mixed reply, with sad generally winning. The ephemeral '2.45 a.m.' is greeted with hushed awe as is the defiant melencholy of 'Say yes' which boasts the lyrical twist, 'I'm in love with the world, through the eyes of a girl, who's still around the morning after.'

Smith is clearly a man not at ease on stage in front of so many. He served his early apprenticeship with Fugazi-copyists Heatmiser. However it is this edginess, this shy awkward stage presence, that only furthers his charm. Robbie Williams is all well and good, but this is the anti-Robbie. Whilst confidence is at half-mast the talent is all belonging to the scruffy looking New Yorker.

He leaves after yet another rousing finale with a disarming wave. We've quite possibly witnessed the next Bob Dylan.

Greg O'Keeffe