The ingredients are simple:
     1 cup New York City's village
     1 cup Shakespearean Shrubbery Backdrop
     1 cup White (but Black after set break) 12" Go-Go Boots
     1 pinch of Alt-Country
     1 dash of Cardinal Sin
      The recipe? Ryan Adams.

      Known for prolific songwriting, his December 6 performance, the final of three nights at New York City's Town Hall, managed to capture "RA" at his best, his, worst, his most delicate and most certainly his most obnoxious. A two-set show clocking in at barely an hour and a half, Adams dug mainly into his older catalogue, but still managed to woo the crowd of hipsters, hippies and everything else in between with his harmonic, rangy vocals and overall quirky stage presence.

      His songwriting abilities are praised by the likes of Phil Lesh (Grateful Dead) and Elton John. He is a true performer—albeit with a touch of egocentrism sprinkled in.

      Opening with the combo of "Come Pick Me Up" and "When the Stars Go Blue," it was apparent that Adams' songs stood well on their own. "When the Stars Go Blue" consists of beautiful vocals and lyrics, and was accompanied by an appropriate blue lighting emanating from the 10 or so trees and bushes that were behind the Cardinals, which looked like a scene from Shakespeare's A Midsummer Night's Dream.

      His band, the aforementioned Cardinals, look like a ragtag bunch: one part Ramone, one part Beatle, one part Vegas showman, one part drummer in a tuxedo shirt covered by a bathrobe. But, all together, they fit. Somehow, some way, they fit. Never show-stealing (I believe partly out of fear of upsetting the fragile temperament of Adams) but always supportive, the Cardinals seem to be a nice background for the most eclectic songwriter to hit NYC's scene in quite some time.

      Where he ran into problems was when he stopped to joke with a "drunk" Santa doll, and a seated, yet rambunctious crowd whom he described as "the people you'd try to sell cars to." The crowd praised and heckled his ability with catcalls, and the ongoing joke that Adams "forgot to write a set list." He continued to say they magically appeared on the set list at his feet when the crowd (disrespectfully, Adams felt) yelled them out. It was apparent tension filled the room but was overshadowed by Adams' quirky takes on love, life and heartbreak. For now.

      "Oh My Sweet Carolina" was delicately beautiful and gripping, and definitely one of the evening's highlights. In fact, the rest of set one, including "Love is Hell," "This Is It" and "Afraid Not Scared," was the strongest live performance I have ever seen Adams exhibit.

      A second set started off rocking with "Hallelujah" and also included some of his more "twangy" numbers, which are the songs that stand out over others. The second set also included "Judy Garland," "Blue Sky Blues," "Games," "Winding Wheel" and "Willow Jane."

      "29," eerily similar to the Grateful Dead's "Truckin'," managed to rally the theatre one final time before closing with "Rescue Blues," and Adams bolted offstage—a full 25 minutes before curfew allowed. An encore did not happen, as the house lights rose, and those in attendance realized RA's mysticism only took another step forward after this night. I mean, who could change boots, jackets and hairstyles in a 10-minute set break? Who else can blend together Johnny Cash, Jerry Garcia, Tom Waits and a NYC village freak without even trying—or trying way too hard? Yes, Adams.

      Overall, his final show after a long world tour was solid but lacked length. It managed to showcase his songwriting abilities but also showed a few sore spots—mainly his "F--k you" attitude to anyone in the band, crew and especially audience that seemed to question him in any facet.

      But, then again, without those ingredients, he wouldn't be Ryan Adams.