I am stupid behind my usual deadline with this gig review on José González – I usually get it done the morning after the gig. By the way, he was stunning, love love love. But I took a critic perspective with this review. I paid for my ticket, but have since signed on as a contributor for at FasterLouder (about freakin’ time, I know). Hopefully it’ll pass through the editors.. *twiddles thumbs*
I still have a Daft Punk review I’ve been meaning to finish, but let’s face it – how the fuck do you put the Daft Punk experience into words? I was hoping to pitch it Rolling Stone, who’ve since gotten a new editor – HURRAH! No more being freakishly terrified of Simon Wooldridge =D
****
José González @ Enmore Theatre, 29.12.07
Support: Emily Barker
José González really loves Australia. His recent Enmore gig was his fourth visit to our sweltering shores in just under as many years. Commanding a quietly formidable presence at Newtown’s Enmore Theatre, the artist riffled through his library of finger-plucking tracks with requisite covers thrown into the mix. Indeed there is just something about the Enmore Theatre that keeps musos coming back, and González was no exception, transforming the at times vast space into an intimate mute-lit lounge.
Support Emily Barker turned over a pleasing set with her folk-slash-alternate-country melodies. Dixie Chicks comparisons aside, she found her place between a melancholic Sarah McLachlan and the trace of Stevie Nicks. Indeed, one might even find the strength and clarity of Martha Wainwright if listened hard enough. Barker’s voice is quite an aural gem to behold, as she attracted some appreciative applause from the small crowd who bothered to turn up early.
A rather long 45-minute wait finally saw the Argentinean-cum-Swede stroll onto the stage with his rapidly expanding afro and mo’. A hush descended the murmuring crowd as he opened the show with a powerful rendition of Hints. Fingers moved across the strings like water, hypnotising to those lucky few at the front as we were treated to a humbling instrumental number before crowd pleaser Heartbeats took the show to the first of many highlights of the night.
Percussionist Erik Bodin and back-up vocalist Yukimi Nagamo joined him on stage for Stay In The Shade, before the crowd threw adoration at a less-than-perfect In Our Nature. Indeed, while the song-writing from the In Our Nature record is a lot more adventurous, its surety was not as easily obtained when translated to a live performance. Interspersing a lukewarm Time To Send Someone Away with a haunting rendition of Lovestain merely served to point out exactly in what made Veneer so exquisite. The atmosphere of this song brought the show to a soaring crescendo as we were treated to a more bitter side to the otherwise quiet González. Soonafter, Remain took this fever to a higher octave before a simmering and almost groovy Down The Line.
A change possibly spurred by his growing popularity, the venue was divided into two dancefloors, a move that did little to benefit González’s otherwise mesmerising performance. The presence that he drove on stage is one of drawn out subtlety and climactic in its execution, an impact lost on some of his newer fans. It seemed that the simplicity of his songs found many punters shuffling from sore lower backs, and made the theatre appear cavernous at times. A shame to be sure considering the lush melodies mused with his soft vocal tones; he spent much of the night hunched over his classical guitar, the odd ‘thank you’ thrown to the crowd here and there in between his aurally pleasing twangs and picks.
With such a lack of showmanship, you become acutely aware González’ complacency with his growing popularity and perchance for the stunning covers he puts in place of his otherwise excellent song-writing, which is on par with the likes of Elliot Smith and of course, Nick Drake. The encore proved such brilliance with Deadweight on Velveteen and Crosses before a lack-lustre Abram from his second album. The softly melancholic Kylie Minogue cover aside, it was apparent that the night belonged to one song. A devastating Teardrop closed the night, building to a commanding high, at once breathtaking and true.
A night with José González is one well-spent indeed, especially for a reviewer who’d paid to see him twice before. Despite a slow rise in popularity with the second offering, the songs were supported by his solid efforts with Veneer many of which proved to be the favourites amongst the crowd. The performance was an enlightening end to the year, though it would be a crying shame if he became defined by the covers that he so ingeniously produces.
Margaret Tran 