Live Review: Billy Bragg, Jordie Lane

Tonight's gig in the ornate QPAC Concert Hall begins with troubadour Jordie Lane, who sets up left of stage and delivers a short set of songs that musically aren't miles removed from Americana exponents such as Justin Townes Earle, but whose lyrics are far more local, his 'Aussie abroad' narratives War Rages On and Hollywood's Got A Hold compelling in their imagery.

Soon UK icon Billy Bragg joins the fray for the first half of his dual-pronged set, promising to expose a new side to fellow folk leftie Woody Guthrie – who he's been honouring for years with the Mermaid Avenue project – and he sits down with his acoustic and kicks off with Against Th' Law, regaling us with tales before and after (and sometimes during) every song, as always so engagingly articulate that it's enjoyable being educated amidst the entertainment. She Came Along To Me is dedicated to Tony Abbott before Bragg reels off faves Ingrid Bergman and Way Over Yonder In The Minor Key. His distinctive voice is soothing despite the rough edges, and he dedicates Another Man's Done Gone to former Wilco member Jay Bennett, who passed away a while back, and finishes this portion of proceedings with the rousing All You Fascists.

After a brief break Bragg is back to tackle his own catalogue, and does so standing solo with his electric guitar in the manner he favoured back in the day, opening with safe sex ode Sexuality, then offering the moving St Swithin's Day. He espouses that “cynicism is worse than capitalism” before the uplifting Tomorrow's Going To Be A Better Day, before old chestnut Greetings To The New Brunette garners the first real singalong action of the evening, followed by the poignant unrequited love lament Must I Paint You A Picture. Early classic The Saturday Boy paints the confusion of young love in broad brushstrokes, before Levi Stubbs' Tears ups the sadness quotient, I Keep Faith encapsulates Bragg's mantra that change is up to every one of us, and he finishes with the rousing There Is Power In A Union. The obligatory encore follows, the moving tribute to his father, Tank Park Salute, leading into a topically updated Waiting For The Great Leap Forward and proceedings finishing with a shared refrain of the beautiful A New England.

Bragg's political polemic mixes so well with the personal nature of his love songs because his humanity gives power to his message, making the whole impossibly affirming. As he grabs his cuppa and throws his teabag far into the crowd in a parody of rock star preening as he wanders off-stage to a standing ovation it doesn't seem the slightest bit out of the ordinary for this idiosyncratic and inspiring man.