Gillian Welch & David Rawlings at the Palladium

Gillian Welch & David Rawlings

Palladium, 27 October 2025

It's something really special when you manage to make a grand old theatre like the Palladium, home of many a famous musical and of course the Royal Variety Performance, feel like you are sitting on the back porch of an some Southern house listening to two folk artists, at the peak of their powers, playing just for you, but that's what happened tonight at this concert with Gillian Welch and David Rawlings.

Unbelievably, it was way back in 2011 when I last saw them live in an equally special show at the Hammersmith Apollo. Catching them in concert these days is such a rare thing that when they announced two dates at the Palladium I knew I had to get a ticket, because honestly, who knows when they will be back next and, even though 14 years is a long time, it definitely felt worth the wait to finally see them live again.

It was actually nice to actually have a seat for once too, and just turn up on time and know my place was assured, especially since I had a pretty good fifth row seat (although last time I saw them I was second row but the Palladium is a much smaller venue, so I really can't complain). There also was no support act so although the tickets were also a lot more expensive this time round (as is everything), at least I knew I was getting my money's worth, with a nice two hour plus long set list and not one but two encores to boot!

They arrived on stage just after 8pm, looking like the King and Queen of Americana, with Rawlings, now sporting a big white beard, wearing jeans and a huge cowboy hat, and Welch (her own locks also now charmingly white) in a floor-length prairie style dress: they could have been transported from another time altogether. 

Joining them on stage playing double bass (naturally), was Paul Kowert and the trio opened the show with a toe-tapping I Want To Sing That Rock And Roll. The first half of the show was a nice mixture of songs from Welch's albums and Rawlings' solo albums, although technically they are musical partners on them all. Their most recent record, Woodland, though is only their second album that bears both their names and a good bit of the material tonight comes from it, six songs in all, beginning with the evocative Empty Trainload Of Sky, which features some truly incredible guitar-playing by Rawlings.

Obviously you can hear it on their records, but it really is something else to witness Rawlings playing guitar and his natural ease and nimble fingers, playing such intricate guitar parts and even guitar solos, on his acoustic guitar. I had forgotten just what a marvel he is and just how it seems to flow out of him. I'm not surprised at all that he gets so many cheers and people randomly shouting "Go Dave!" at him because his talent does absolutely astound and have that effect on people. He really is one of the best acoustic guitar players I've ever seen and why he isn't on every best guitar player list is baffling to me.

Welch at the start of the show actually encourages the crowd to voice our approval during the show, so we know these calls to Rawlings, are very much welcome (and actually feel nice too). She tells us, with a big grin on her face, "I know we're just a little folk act, but feel free to treat us like a big old rock and roll band!"  There are also big cheers when Welch grabs her banjo, which seems to tickle Rawlings a lot, but there is something special to hear them play Howdy Howdy with those harmonies and the beautiful combined sound of Rawlings' acoustic and Welch's lovely banjo strumming.

They play about ten songs before taking a brief break (I can't remember if they did this last time), but I don't know what happened during those 15 minutes, because when they came back they seemed even more energised and the second set is even better.

Amusingly, before the break, Welch had commented that it never ceased to amaze her how the atmosphere and audience of every show felt different even at the same venue (they had also played the Palladium the night before) and when someone shouted "how are we?!" she grinned and stated "fucking awesome." When she returned to the stage she laughed, telling us "I didn't mean to imply last night's audience wasn't awesome too." There was definitely an electricity tonight and excitement, which I'm sure made it's way to the stage and I think it really began to be felt in that second half.

There were more fantastic numbers from the new album, such as Lawman, What We Had and Hashtag, and Welch, bringing back the banjo, once again to cheers, on Hard Times. But then they began the familiar guitar chords of Time (The Revelator), perhaps their greatest song, with Welch hunched over her guitar and closing her eyes, as Rawlings let rip on his guitar and it was truly spellbinding. Not surprisingly the audience were on their feet by the end, full of applause for this special moment.

It was Rawlings turn to take up the banjo (he even got a full whoops for taking off his jacket and briefly his hat, which had Welch chuckling), and the pair sang Six White Horses together in the same mic, and during the instrumental parts, Welch danced to the edge of the stage and gave us some tap-dancing moves and even provided some of the percussion parts, banging away on her thighs! It was pure wholesome fun.

There was also a nice moment when Rawlings keep moving the capo on his guitar, as if trying to decide what to play and Welch told him, she would pick up whatever he ended up playing. It took him a few goes, but eventually he started playing Pilgrim (You Can't Go Home) and Welch had to quickly change her capo too and she did indeed quickly catch up with him and seamlessly joined in a truly spirited version. At the end she grinned, as if it was a nice surprise, telling us "that was definitely not on the set list! We haven't played that one in quite a while." 

The second set ended with the fantastic foot-tapping shuffle of The Way That It Goes, but of course we knew that wouldn't be it, as the crowd was again on their feet, and the applause quickly drew them back to play a traditional tune, the bluesy and lonesome sounding, Make Me A Pallet On Your Floor, which Welch tells us was taught to them by Doc Watson, who apparently always called her "kid". 

It was a lovely start to the encore but when they started playing Look At Miss Ohio, even the most stoic members of the audience started smiling and suddenly I heard people singing along to that great memorable chorus, "Oh me oh my oh, look at Miss Ohio, she's a-running around with her rag-top down." People truly got the chance to sing though with the next song, I'll Fly Away, which turned into a gospel singalong, with people clapping and singing the chorus, like we were all worshipers in the church of Gillian and Dave. 

You would have thought that would be enough to end the show on, but no, the energy and good feeling in the place was so high by this point, that when Welch and Rawlings returned yet again it felt right (and you know I am no fan of the fake encore). But the best treats were still to come when Rawlings broke into his cover of Bright Eyes' Method Acting, which of course sounded great, but even better, as on the record, it beautifully morphed into the most sublime version of Neil Young's Cortez The Killer.  That is my favourite Neil track of all time (in fact I always pray he plays it live when I've seen him but it has only happened once for me, back in 1995!), so to hear Rawlings and Welch do the most amazing, heartfelt and utterly stunning version of it, was truly moving and absolutely blew me away. It was definitely the highlight of the night for me.

Like the last time I saw them live they seemingly finished with a dramatic and stirring cover of the Jefferson Airplane classic, White Rabbit but when the standing ovation and loud cheers and applause didn't die down, you could see them deciding there and then on the stage to try something more. "This is an old place, so we're hoping it works" Welch told us as they took their instruments to the edge of the stage far away from the microphones. 

And it really did work, their voices and guitars echoed throughout the Palladium, which was built long before microphones were invented so was probably perfect for this truly acoustic performance, and the pair sang a glorious version of the traditional tune, Long Black Veil. It felt a spontaneous and perfect end to a very special night. I'm just glad I got to witness it.