GIVEN Josh Rouse's recent success with the retro 1972, last night's acoustic evening was an appropriate throwback to an age when bands had to survive without the lifeblood of electricity.

In the solemn provincial atmosphere, Rouse initially struggled to break through. The title track was met with an unknowing silence, and Sunshine (Come On Lady) fared little better.

Although he was not strong on banter, or even a particularly good guitar player, Rouse was able to carry the night by dint of his song writing and unusual voice.

By contrast, support act Tim Keegan looked exposed without a sense of humour. Although his material is evocative, he only really has two good songs. The New You should be a future easy listening classic, while Disconnected unfortunately summed up Keegan's relationship with the audience.

Fortunately, Rouse's distinctive style did receive its due. After his earlier, glum releases, 1972 was all the better for being unexpected. Its nostalgic hedonism seems an uncanny fit with 2004. Even stripped of the period arrangements, Love Vibration connected, with the crowd singing call-and-response style. Under Your Charms was actually better than the original, its intimate subject well suited to the venue.

A new song from the forthcoming Nashville album, Winter In The Hamptons showed that the rich vein of form continuing - a typically unhappy subject made effortlessly catchy. With the addition of a talented band, Rouse could become that most rare of breeds, a deserving success.

Updated: 10:13 Tuesday, November 23, 2004