POP MUSIC REVIEW : When Dillon O’Brian Sings a Story, People Listen

On his 1994 debut release, “Scenes From My Last Confession,” singer-songwriter Dillon O’Brian grapples with such weighty topics as religious hypocrisy and the redemptive power of love.

Though his narratives tackle noble themes, the Baltimore native frequently stumbles by failing to fuel them with a dynamic edge. On disc, his mellifluous vocals too often dilute the emotional tension each song requires.

But at the Coach House on Saturday night, O’Brian and his four-piece band met the challenge and brought to the stage a winning formula: Provide a warm, informal atmosphere and sing and play with added abandon and grit. More versatile and emotive, O’Brian enriched his vocals, stretching out effectively from the tender ballads to the rock-oriented numbers.

The band’s 90-minute set emphasized the art and joy of storytelling in both song and conversation.

Prefacing numerous songs with brief history lessons, twisted animal jokes or inconsequential tidbits (“Living on the edge and sleeping too late make funny things happen to our head”), O’Brian seemingly brought us into his cozy living room for a Saturday evening visit.

Having written material for Ringo Starr, The Temptations and Joe Cocker, among others, O’Brian is a skilled lyricist who only recently decided to concentrate on a solo career. Filled with imagination and introspection, his mostly autobiographical songs frequently invite us to join him on his quest for fulfillment and understanding.

His concert vividly expressed an array of emotions, reflecting his childhood fears and his growth into responsible adulthood. His Irish-Catholic upbringing and stern father form the core of O’Brian’s subject matter, as he mentioned “often contemplating life a lot--mortality and death.”

Early in his set and enjoying a sweeter moment, he shared the pride and joy he felt over the birth of his son five years ago with the heartwarming “Something Almost Sacred.” Singing and delicately tapping the piano keys with his eyes closed, O’Brian played with passion and purpose.

But the mood turned darker when the band began “Catholic Boys,” a penetrating look at religious guilt and repression. With lead guitarist Harry Orlove playing aggressively, O’Brian cried out: “Sammy had his pants to his knees/And a Playboy magazine/Yeah, but while Sammy’s doin’ his confessional rap/Father Dan’s fantasizin’ Sammy’s on his lap.”

Other noteworthy selections included “Angel of Mercy,” a swampy, Ry Cooderish ballad that featured Orlove’s excellent slide guitar leads; the Latin-flavored “Two Friends,” which offered a welcome percolating bounce to the mix, and set-opener “Roots and Wings,” a revealing look at materialism’s destructive nature.

Second-billed Soma fired up the crowd with an explosive, 45-minute set of modern, youthful Pearl Jam-influenced rock. Fronted by 18-year-old Colin Best, this quintet of South Orange County high schoolers displayed impressive amounts of raw energy, skill and confidence.

Drawing material from its self-released CD, “Machine,” the band dug into issues of teen angst, isolation and self-doubt. Its dramatic closing number, a new “John Gault,” found guitarists Ruben Pranata and Shahin Ewalt laying down edgy licks with furious abandon, while Best cried out the tortured lyrics. Keep an eye on these guys.

Opening the show was the Long Beach-based trio Zoey’s Trip, which did a frustrating 30 minutes of acoustic originals. Though blessed with a gritty, expressive voice, singer Deblin Palella fell victim to overpowering the songs in search of the Big Sound.

If she would strive for base hits instead of home runs, guitarist Tommy Plaisanc’s lucid riffs just might gain the attention they deserve.