Two years ago Edwards, a strict Christian, played at the Patronaat with his project Woven Hand. One year earlier (well, the same year actually. tyfc) he played the Grote Markt square with his band 16 Horsepower. He himself doesn't see much difference between the shapes of his appearances. They are after all his bands, Edwards recently said in an interview. That is evident to hear, be it that Woven Hand sounds more modest and personal.

On the album Consider The Birds - which was released in September and is his most disquieting album so far - he plays all the instruments himself. That incidentally doesn't keep him from performing with a band regularly. Early this year he toured the country extensively with 16 Horsepower, for that occasion reduced to a three-piece.

Early this month Edwards did a few solo shows. At the Patronaat Monday night - the last show of a comprehensive Dutch tour - drummer Jean-Yves Tola (well, Ordy Garrison actually. tyfc) accompanied him. There is hardly any physical interaction between the two: Edwards seems to be lost in his own world. In contrast with earlier concerts during which he surprisingly even cracked jokes, he now makes no effort at all to get in contact with the audience. Once Edwards thanks the audience for clapping. A while later he apologises for a broken string that needs to be replaced. That's about it.

However minimal the physical contact between Edwards and Tola, musically they form a tight unit. In which Edwards initiates and Tola follows. As a result of this chemistry the duo sounds overwhelming the first ten minutes. With his voice, guitar (or banjo) (well, mandolin actually. tyfc) and sampler Edwards conjures up a terrifying dark atmosphere that is rather stifling. His voice is hart-rending fragile, then again deep and distant. Tola's drumming is supporting, like a heavy rain shower that adds force to Edwards' deeply religious lyrics.

During Speaking Hands and the beautiful White Bird that produces jet-black country rock in which Edwards moves back and forth on his stool wildly and preaches hard. During other moments he turns out to be a dark Nick Cave; resigned and vulnerable. Two exponents of the two almost opposed characters within Edwards.

As the more quiet moments - when Edwards plays his banjo - increase, so does the hubbub in the room. On either side of the stage that even drowns the music with annoying laughter and talking. Complete surrender to the power of the music that Edwards and Tola make becomes impossible as a result. What does come over people to disturb a performance in such a way? Anyhow, they succeeded in breaking the potential spell of Edwards' music. A sin, because everybody wants to see Edwards' demons. Well, just for a short time.