September 16, 2012
May 8, 2012
March 31, 2012
August 17, 2011
Smooth Operator
Sade/John Legend
Rose Garden Arena
August 15, 2011
Sometimes reality just won't do; that's where Sade comes in. There are rare living figures in music that have built such mystery around themselves, they're more a concept than a person (think: Prince). Sade Adu is one of those artists. Shattering the mythical aura this reclusive Nigerian-British chanteuse possesses, she and her eponymous band stepped onstage at the Rose Garden, delivering two hours of rhythmic soul-pop enhanced by seductive, otherworldly video projections.
Just now hitting the road in support of Sade's platinum 2010 album Soldier of Love, the group kicked things off with the record's punchy title track. Alluring, adorned in black and tiptoe-strutting across the stage, Adu was in fine voice and focused throughout. A technically locked-down, tightly orchestrated revue of her three-decade catalog, the show's strongest moments were revealed in favorites, from the subtle, elegant "Your Love is King" and the sax-driven "Smooth Operator" to passionate torch songs like "Is it a Crime" (a standing ovation-garnering highlight) and the pained yet resolute "Jezebel."
Belting it out and armed with dazzling staging and production, Adu gave ticketholders their money's worth. And in a move seemingly aimed at showing her at her most relaxed and "normal," a video was shown during the new song "Skin" depicting the singer with her hair down, frolicking through a field of flowers, relaxed, and smiling. It was an unexpectedly revealing glimpse that dispensed of the glamour and exposed another side to her.
On the downside, there were a few obscure songs performed that were more memorable for the glitzy special effects that accompanied them than the actual music. A valid criticism of Sade's catalog is that it tends to spring from a bit of a slow, monochromatic smooth jazz well, and the energy flagged at times. However, when the drums, horns, and keyboards surged, Adu soared skyward, as on the percolating "Paradise," and during "The Sweetest Taboo," when some fans made a point of rushing to the aisles and dancing.
Ethereal yet humanized, intimate yet distant, by the time Adu sent "No Ordinary Love" cascading over the audience, all in attendance had been transported to her sophisticated, timeless world.
Modern R&B hitmaker John Legend gamely filled the opening act slot with a crowd-pleasing yet unchallenging mix of piano-driven, Top 40-ready tunes that split the difference between Luther Vandross and Marvin Gaye, which sounds better than it actually was. Legend's a photogenic, lively young artist with class, but some growth is needed. He's got the horn section and the backing singers, but what he really needs is a little James Brown.
Rose Garden Arena
August 15, 2011
Sometimes reality just won't do; that's where Sade comes in. There are rare living figures in music that have built such mystery around themselves, they're more a concept than a person (think: Prince). Sade Adu is one of those artists. Shattering the mythical aura this reclusive Nigerian-British chanteuse possesses, she and her eponymous band stepped onstage at the Rose Garden, delivering two hours of rhythmic soul-pop enhanced by seductive, otherworldly video projections.
Just now hitting the road in support of Sade's platinum 2010 album Soldier of Love, the group kicked things off with the record's punchy title track. Alluring, adorned in black and tiptoe-strutting across the stage, Adu was in fine voice and focused throughout. A technically locked-down, tightly orchestrated revue of her three-decade catalog, the show's strongest moments were revealed in favorites, from the subtle, elegant "Your Love is King" and the sax-driven "Smooth Operator" to passionate torch songs like "Is it a Crime" (a standing ovation-garnering highlight) and the pained yet resolute "Jezebel."
Belting it out and armed with dazzling staging and production, Adu gave ticketholders their money's worth. And in a move seemingly aimed at showing her at her most relaxed and "normal," a video was shown during the new song "Skin" depicting the singer with her hair down, frolicking through a field of flowers, relaxed, and smiling. It was an unexpectedly revealing glimpse that dispensed of the glamour and exposed another side to her.
On the downside, there were a few obscure songs performed that were more memorable for the glitzy special effects that accompanied them than the actual music. A valid criticism of Sade's catalog is that it tends to spring from a bit of a slow, monochromatic smooth jazz well, and the energy flagged at times. However, when the drums, horns, and keyboards surged, Adu soared skyward, as on the percolating "Paradise," and during "The Sweetest Taboo," when some fans made a point of rushing to the aisles and dancing.
Ethereal yet humanized, intimate yet distant, by the time Adu sent "No Ordinary Love" cascading over the audience, all in attendance had been transported to her sophisticated, timeless world.
Modern R&B hitmaker John Legend gamely filled the opening act slot with a crowd-pleasing yet unchallenging mix of piano-driven, Top 40-ready tunes that split the difference between Luther Vandross and Marvin Gaye, which sounds better than it actually was. Legend's a photogenic, lively young artist with class, but some growth is needed. He's got the horn section and the backing singers, but what he really needs is a little James Brown.
March 28, 2010
Neil Young Trunk Show
The journey never ends for Neil Young. Captured cinematically just a few years ago in the formal Nashville recital Heart of Gold, the legendary rocker and that film's director Jonathan Demme return with Neil Young Trunk Show. The result is a rich, organic chronicle of the 2007-8 tour in support of Young's Chrome Dreams album. With multiple video angles and handheld cameras, Demme's spontaneous approach meshes perfectly with Young's free-floating, soft/loud, this-old-man-will-do-whatever-he-wants-to artistic imperative.
It's hard to think of another 60-something singer-guitarist granted as much reverence by his audience, and one that can summon as much electric fury. It was a smart idea, then, to capture the aging Young in this particular chapter in his career - increasingly grandfatherly and gentle one moment (the acoustic "Harvest" and "Oh Lonesome Me" are given poignant readings), then flattening the crowd the next with blazing steamrollers like "No Hidden Path" and "Like a Hurricane." Humble every second, yet never pandering, Young reveals himself throughout, apparently feeling every note he plays to the utmost. And as this concert movie goes on, the foundational themes of this singer-songwriter's body of work -- how a defiantly solitary man reconciles himself with the outside world, love, and spirituality -- come into progressively clearer focus.
Young and his band, including bassist Rick Rosas, guitarist Ben Keith, drummer Ralph Molina, and backup vocalist/wife Pegi, present a wholly convincing argument for artistic purity and old ways. With an eye toward both spectacle and heart, Demme captures his subject unpacking a Trunk Show complete with a live painter, vintage lighting, and, at center stage, those songs. It all boils down to the songs; Young serves no other master.
It's hard to think of another 60-something singer-guitarist granted as much reverence by his audience, and one that can summon as much electric fury. It was a smart idea, then, to capture the aging Young in this particular chapter in his career - increasingly grandfatherly and gentle one moment (the acoustic "Harvest" and "Oh Lonesome Me" are given poignant readings), then flattening the crowd the next with blazing steamrollers like "No Hidden Path" and "Like a Hurricane." Humble every second, yet never pandering, Young reveals himself throughout, apparently feeling every note he plays to the utmost. And as this concert movie goes on, the foundational themes of this singer-songwriter's body of work -- how a defiantly solitary man reconciles himself with the outside world, love, and spirituality -- come into progressively clearer focus.Young and his band, including bassist Rick Rosas, guitarist Ben Keith, drummer Ralph Molina, and backup vocalist/wife Pegi, present a wholly convincing argument for artistic purity and old ways. With an eye toward both spectacle and heart, Demme captures his subject unpacking a Trunk Show complete with a live painter, vintage lighting, and, at center stage, those songs. It all boils down to the songs; Young serves no other master.
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