Better Off Dread: Chris Isaak’s Gift Is Pain

Chris Isaak has a lot going for him. The singer-songwriter and part-time actor from the Bay Area is blessed with good looks and an otherworldly voice that recalls Elvis Presley and Roy Orbison. “Wicked Game,” his haunting, breakthrough single from 1989, can raise goose bumps.

And when it comes to songs of unrequited love, few performers deliver as convincingly. In fact, Isaak’s made a career out of an obsession with romantic turmoil. Similar to baseball slugger Mark McGwire, Isaak really only does one thing--but he does it very well.

On a musical level, Isaak and his four-piece band excelled Thursday in a sold-out concert at the Coach House in San Juan Capistrano.

The only thing wrong with the show was Isaak’s continued reliance on a cornball stage act, plagued by repetitive antics and stale chatter.

Throughout the two-hour set, Isaak delighted the audience with that voice, a distinctive instrument that ranged from a deep baritone to a clean, sustained falsetto. He shone brightest while crooning such melancholy ballads as “Blue Spanish Sky” and a terrific cover of Orbison’s “Only the Lonely,” yet Isaak also did an admirable job belting out upbeat rockers, particularly Bo Diddley’s infectious “Diddley Daddy.”

With his “Speak of the Devil” album not due until the end of summer, Isaak is playing a handful of dates in Northern and Southern California, delivering old favorites and breaking in new material.

*

The best of the typically Isaak-sounding new songs includes the album’s ominous, guitar-driven title tune and a gentle, acoustic-powered song of self-determination, “Don’t Get So Down on Yourself.”

Solid support was provided throughout by Isaak’s versatile band, particularly by the veteran rhythm section of bassist Rowland Salley and drummer Kenney Dale Johnson. Also impressive was lead guitarist Hershel Yatovitz, who displayed a versatile touch on both fiery rockers and moody, slower-paced ballads.

As compelling as the music was, Isaak’s presentation was often tedious. It’s one thing to be playful onstage, but Isaak frequently let his goofy shtick and too-cool persona get the better of him.

Several of his long-winded song introductions rambled. One involving the recent sexual exploits of bassist Salley was tacky, and a clumsy dissertation on keyboardist Dave Palmer’s background just wasn’t funny.

Another problem was Isaak’s lack of imagination. After his first encore, he changed into that gaudy-looking suit (that knight-like one with the silver reflectors) he’s been dragging out for five years. On cue, Isaak strolled through the club, guitar in tow, before inviting several women to dance and cavort onstage.

Not that any of these contrivances seemed to matter to the enthusiastic, adoring audience. In fact, the more Isaak sounded like a fast-talking game-show host, the more they seemed to enjoy it.

A retro-ish opening set by Sunchild brought to mind the Allman Brothers, Dave Mason-era Traffic and other ‘70s-era jam bands. The Orange County quintet would do well to avoid stale-sounding Marshall Tucker Band covers (“Can’t You See”) and focus on crafting more originals like its best offering, the propulsive, multilayered “Little One.”