Empire State at Night and Apple/Pear: Saturday 6th January 2008

After Natalie we took 2 bites of 2 very different apples. The wonder of the empire state buliding at night. Somewhat hazy and mind boggling. Plus the health replenishment of eating an Apple/Pear. Hybrid pleasure: Surprisingly tasty and juicily scrumptious (once acclimatised)

Natalie Merchant: Hiro Ballroom, Maritime Hotel, New York: Sunday 6th January 2008

First gig of the new year that is 2008 (and what a way to commence…). In the honour of the intrinsic uniqueness and New York-ness of this experience a slightly re-mixed structure will be used for this review. (For any fellow occupational therapists out there, this format will definitely appear familiar….)

Factual Strand: Delightful decadence surrounds us tonight. The Hiro ballroom is almost like being on the set of “Raise The Red Lantern.” In fact so many japanese lanterns are being suspended from above we could be anywhere. In fact this is New York and I appear to be surrounded by Natalie “fanatics.” Overheard conversation snatches of people coming to their 3rd concert this week or people travelling from the other side of the US (or even from England like myself!). Just when my legs and willpower are starting to give way (Randy Newman’s “Sail Away” is indubitably a classic album- hearing it back to back 3 times whilst waiting is either genius or perverse) Natalie and band emerge onto the stage. From here on in, legs, overall being and soul are lightened and elevated (with occasional moments of introspective emotional tension, sometimes resolved, sometimes not, more of which below).

The venue is extremely intimate and borders on the classily cosy. We are probably more proxemic than I have been to any performer (with the possible exception of “The Like” at the 100 Club in London a couple of years ago). Natalie even further amplifies her viewing potential by standing on a platform for much of the performance. “Carnival” begins the show and is quickly followed by “Build a Levee” and “I’m not gonna beg.” During these initial songs Natalie appears somewhat tentative and reticent. She is acclimatising and accustomising herself to the faux japanese environment and its inhabitants. These delicate inhibitions will evaporate within just a few songs into histrionic vivacity and focus. If she starts in a “tentative and reitcent” manner, her voice is anything but. Instead the flourish, clarity and purity of her singing is remarkable. This is pronounced and “writ large” on “I’m not gonna beg.” Hence three songs in already and we have a show stopper moment. Her range and substantial dynamic impact only falter and waver during the emotional overload of some of the later material.

Tonights set comprises a well structured and devised mixture of the new and of the older well known material. However in spite of numerous requests (or shall we call them cries/ pleas) there is only one 10,000 maniacs song brought back. Even this is a solo recapitulation of the first few bars of the “first song she ever wrote.” Unfortunately (or maybe fortunately) Natalie cannot remember more than this. The new songs include a realisation of Shakespeare’s sonnet 73 and also 3 childrens poems. One of these Natalie correctly dubs her “country music” song. (Roll over Dolly!). These are both charming and tuneful. Apparently Natalie has been stock piling about 30 of these children’s poems. Otherwise we also hear 3 other new songs (presumably written by Natalie). There is a power infused song regarding the New Orleans catastrophe. “How do you keep on keeping on” and “Moses is needed here.” We also get a new folk sounding song which changes gears from plaintive to rousing from verse to verse. The final new song is an earnestly infused anti war plea. Both the New Orleans song and the anti war song overwhelm the emotional circuitry yet Natalie somehow manages to keep composure. Tears are visible and her voice does whimper out and fade at times. She also dedicates the anti war song pre-encore finale to Benazir Bhutto. During the chorus of this song Natalie unfurls a CND flag with a background of war photography. Naive and idealistic as it may be, it is a touching and human gesture.

The only comeback (and comeback she does) for an encore is in a reactive humorous manner. Natalie and her band perform a jovially slapdash version of the Kinks “Village Green Preservation Society.” Natalie acknowledges this is a joyful distraction measure and then returns to the intense business of signing. We get “Break your heart”, “Tell Yourself” and then finally and triumphantly “Kind and generous.” Simply rapturous, simply rollercoaster like and simply wondrous.

Vision: (10/10) Complete and replete. Taking in classic solo material, new material and childrens poetry (plus Shakespeare) interpreted to music. Emotionally captivating. Sometimes whimsical, sometimes unbearably tense and dancing breezily on the precipice of earnest. Comic, tragic, vivacious and contemplative. (Not words I bundle together very often…)

Ability to execute (10/10): Sonically glorious. Untouchable vocally (except in moments of appropriately ragged emotional overload). Unusual but spirited and feisty dancing and audience interaction. Heights scaled above and beyond nights of human mortality.

Crowd symbiosis (8/10): Tonight we are among the resolutely devout. (and sometimes the downright wierd…) Always supportive. Enthusiasm climbs steadily throughout the gig until incandescent ignition is achieved in the final third.

Would see again (10/10): Unreservedly. Without qualification one of the best concerts I have ever witnessed.

Grand Central Station Main Hall: Sunday 6th January 2008

Magnificent arrival, departure and in between phase space (see futurist paintings above for a more indirect interpretation).

Xanadu: Helen Hayes Theatre, New York: Saturday 5th January 2008

Review to be finalised (once the neon, leg warmer daze and awe wears off)