Live Review: Billy Bragg

"I've kind of got a running order, but I'm not convinced by it... I'm in a terribly suggestible situation." Thus Billy Bragg treated Adelaide fans to a night to remember.

Originally slated to be held at a smaller venue (Fowlers Live), Bragg wisely upgraded to The Gov and played to dedicated fans who lapped up every moment. The beloved UK singer-songwriter and political agitator has, in recent months, been touring with cohort Joe Henry, performing acoustically in opera houses, recital halls and playhouses (the two recently recorded an album of railroad songs), as well as playing a solo and a joint spot at Bluesfest.

The limitations of such appearances clearly had an impact, with tonight's show seeing the singer all but throwing away the setlist and urging fans to sing out requests - jovially chiding them when predictable favourites were called out.

The Monday night capacity crowd was grateful for the singer's indulgences. Bragg confessed that he wasn't sure if they were for him or for us, joking, "What is happening here tonight? This is outside the artistic remit of what we're supposed to do. I'm supposed to come out here and make you have it whether you want it or not... I'm not supposed to let you roll on your back while I tickle your tummy... you've just caught me in a funny mood."

The expanded 26-song setlist was rife with fan favourites and obscurities - a nostalgic mix of classics, with occasional dips into expected politically charged commentary ("this year just keeps on giving").

Armed with a trusty electric guitar, he opened with Woody Guthrie's All You Fascists followed by To Have And To Have Not, which had the die-hards singing along joyously. The rarely played A Lover Sings followed - and Bragg's jovial banter in between (and often during) songs began.

All of the staples were present, including Sexuality, his one 'hit'. The Price I Pay also made an early appearance. A few inspired covers were thrown in, including Jeane (The Smiths), Why We Build The Wall (Anais Mitchell), English ballad The World Turned Upside Down and a modernised version of The Times They Are A-Changin' (Bob Dylan).

Bragg's wisecracks came thick and fast. "I don't know why you're laughing," he joked with someone in the front row. "The last time I was in one of these moods I went crowd surfing... and I left my guitar on."

Clearly enjoying every minute, he quipped, "This is like a runaway train."

Everyone present had a ball, none more so than Bragg himself. After the sublime Must I Paint You A Picture? the singer appeared to turn away from the crowd, seemingly to hide the huge grin that appeared on his face.

Handyman Blues - an ode to us less-than-handy men who are suffering a "crisis in masculinity" - was hilarious, and taught us of the fine line between pottery and poetry. The Saturday Boy's extended outro included a riff from Seven Nation Army, which some present failed to recognise, prompting Bragg to substitute a snippet of Smoke On The Water.

While his back catalogue was extensively mined, and many fan favourites played, A New England formed a rousing end to an outstanding night's entertainment - surely the highlight of his current Australian tour. Bravo.