David Eugene Edwards might be on a sabbatical from Denver goth country rockers 16 Horsepower, but tonight's gig definitely doesn't feel like a holiday.

Taking to the stage with longtime associate Daniel McMahon (on pump organ and occasional guitar), Edwards, pale and straight like a Southern preacherman, glowers from the get-go. As with 16 Horsepower, he tells his dark, bleak tales of revenge and loss with old-testament malice. But somehow the banjo and guitar and distorted vocals he employs sound even more threatening and intimidating than with his full band.

Two tracks in and the walls are closing round. It's a claustrophobic feeling that stays all night.

Through it, Edwards' voice never falters. He has long been tied to Nick Cave, both in subject and delivery, but tonight he's closer to Roy Orbison. He sounds like a modern, tremulous gospel singer, out of place, out of time and praying for some redemption. This is gothic country with a cloven hoof and no matter how Edwards pleads - through the bitter 'Straw Foot' or the yearning 'Black Soul Choir' - redemption isn't going to come.

It's unsettling, it's uncomfortable and it proves Edwards is several leagues above almost all others who would claim to play any variety of alt.country.

Sometimes it's good to face the dark.