Isn't This Joanna Newsom at the Famous Spiegeltent, Hyde Park, Sydney (A Lesson in How Not to Write a Gig Review)
(Please note I didn't take this picture because I was too busy admiring the performance. Also, this pic was taken on the Thursday performance rather than today's but it was the same place and pretty similar clothes so... Original pic @ http://www.flickr.com/photos/areminder/368939015/)
So - Miss Joanna Newsom, all on her lonesome with nothing but a harp and three hundred people for company, in a decadent 1920s vaudeville tent in a park in the middle of Sydney. How did she hold up? Spectacularly, of course.
From 'Bridges and Balloons' to 'Sadie' to 'Emily' to the GORGEOUS 'Only Skin', with 'Sprout and the Bean', 'Sawdust and Diamonds' and 'This Side of the Blue', through a traditional Scottish folk song and on to 'Clam, Crab, Cockle, Cowrie', and finishing with 'The Book of Right On'. The songs weren't necessarily in that order, but they were all fantastic.
Newsom had a very reserved demeanour; the kind of personality that unwittingly produced understated 'awww's from the audience several times. A mini-confession about too much Australia Day champagne leaving her a little 'limp' for last night's NIDA performance was once of those moments. All in all, she exuded perfect modesty and never once appeared ingratiating.
Her focus on the songs themselves was something to behold, as well. I saw her face ride out the heavy emotional and intellectual content of the pieces, and she really did appear to flesh out both the words and the music with every available part of her being. Her harpistry (word?) was consistently stunning (though she had little slip ups a couple of times which were redeemed very quickly) and her voice was on fantastic form, endowing the sometimes-harsh-sounding earlier songs with a richness and - dare I say it - maturity that was perhaps a little veiled on the album itself. Accusations of child-like voice will continue, but I think she's clear out of the deep water in terms of people using that as an excuse to impose a sort of infantilism on her work. She's showing herself up to be too good for that. Losing a few of the squeaks in favour of more control over the emotional expression of the songs goes a long way towards battling the naysayers.
All in all then - a consummate performance in the perfect intimate venue. The wind quietly clawing at the tent roof during 'Emily', for example, felt far more like a surprisingly fitting sound effect than a nuisance. Perhaps the appropriateness of the venue came from the escapism of the songs. The fantastical elements of her lyrics, the relative uniqueness of what she's doing right now - they sit very strangely with the current musical climate. I can thing of no better place in which to see her perform than this miniature circus tent, once inhabited by Marlene Dietrich, all gently decadent 20s sass and stained mirrors, a portal to a world not exactly like the one we think we know.