When a performer receives a standing ovation just for walking out on stage, the show is destined for the extreme: it's either going to be an incredible experience or a total disappointment. So when fans rose to their feet just seconds after David Gray stepped onto the Riverside's stage Sunday night, expectations soared beyond the balcony.

Luckily, Gray delivered an intense, unpredictable show that -- along with opening act Aqualung who managed to provide a fresh set despite the fact he's played three times in Milwaukee with only one album under his belt -- gave the audience more than three solid hours of extraordinary entertainment.

Kicking off with "Alibi," "The One I Love" and "Sail Away With Me," Gray quickly established himself as a quirky, high-energy showman with a lighthearted demeanor that deeply contrasted his melancholy lyrics.

But the show became more impassioned with time. Halfway through, it felt like a milestone concert experience, especially when "Please Forgive Me" incited over-the-head hand clapping, "Silver Lining" induced swaying and "My Oh My" and "A New Day at Midnight" were fervently received.

Gray, who released his fifth album in September called "Life In Slow Motion," was the first artist signed to Dave Matthew's ATO Records.

As usual, Gray's drummer "Clune" contributed to the intensity. His manic, dramatic style of drum playing makes him appear more like a animated character than a real person, and his infamous Hawaiian shirt oddly juxtaposed Gray's simple black suit.

Overall, Gray's performance was extremely diverse, showcasing him as both melancholy keyboardist and blissed-out, head-bobbing guitar rocker. However, his joyful aura remained throughout the show, casting much-needed hope into his heavy collection.

The encore, which opened with beautiful versions of "This Year's Love" and "Shine," eventually moved into his mega-hit, "Babylon." It seemed like a contrived way to end the show -- despite the fact the audience was aching for it -- and very unlike Gray. However, after a fiery, new version of "Babylon," he squeezed out one more tune, a surprising cover of the Cure's "Friday I'm In Love," and ended on an unexpected and original note.

Because Gray has managed to cut through the clutter and speak to the masses -- from mainstreamers to artists -- many of his songs have anthem-like qualities, and it seems that in 20 years, having seen a David Gray concert will mean something. That, and his likeness to Van Morrison both vocally and stylistically, made the experience seem even more profound.