As I waited for Jonathan Wilson in a small venue inside a Manchester railway arch, the exquisitely gentle sounds of Feist's Metals through the PA signified a markedly different mood to the previous night's Arcade Fire party. This evening's communication was introverted and stripped back by comparison: no props or lighting, just a focus on the music. Fortunately, the recent album Fanfare ranks alongside Reflektor as one of my albums of the year, and shares an expansiveness of scale and instrumentation, for all the contrast in mood. Whilst the acclaimed albums of 2013 from Arcade Fire, Haim, and CHVRCHES amongst others take their influence from the 1980's, Jonathan Wilson's work is rooted deeply in 70's rock (originally from South Carolina, he's now based in southern California). This extended to the dress and appearance of several band members, notably the bass player. Whereas Arcade Fire transported me to a faraway place, a Caribbean Carnival, last night was more about time travel.
The studio version of Fanfare is full of illustrious contributors from the past including Graham Nash, The Jayhawks, and David Crosby on the wonderful song Cecil Taylor. It's an intricate album, and I wondered how feasibly the orchestral instrumentation could be created live; some sounds such as sax. and jazz flute were absent. Jonathan himself played various percussion instruments, and of course there was a Hammond organ, but as with Bombino a few weeks ago, the evening felt like a celebration of the guitar. The ensemble was remarkably tight rhythmically, despite the often expansive tempos. Jonathan's tenor voice is delicate and gentle, but always audible and brought a heartfelt mood. Yet, the instrumental sections were extended, and signified the moments of greatest intensity. They were as flawlessly performed and nuanced as they were beautifully expansive.
The audience moved gently to the beat, but there was little overt interaction: the band were far too absorbed by the music to make any direct gestures of encouragement. Jonathan also said little, except that that we were here for the songs, and that any attempts by him to tell stories would make no difference. Sing alongs or choreographed hand clapping would have disrupted the imagination: this was all about an inner mental journey, one which verged upon the mystical. In Lovestrong, Jonathan sings with utter sincerity about cosmic harmony accompanied by piano. His lyrics also explore themes of nature, and living 'wild and free'.
Proceedings were nothing if not expansive: after a 45 minute support slot from Brit Kieran Leonard (with a guest appearance from Ellen of the Escapades), the main set lasted over two hours. This allowed them to range across much of Gentle Spirit as well as Fanfare. It was this more recent material which made the greatest impact upon me: Dear Friend was particularly powerful with its guitar solo and subsequent jam session. Jonathan's been instrumental in reviving the Laurel Canyon scene in LA, and his reverence for the past could have seemed self indulgent. Yet, time seemed not just to go back, but stand still: there was an air of concentration and awe in the room, as everyone seemed transported to an era of hope and freedom. A devoted fan I met at the beginning of the evening was attending five consecutive dates on this tour across the UK; I'd certainly strongly encourage you to make an acquaintance with their warm harmonies at least once.
Set List
- Illumination
- Lovestrong
- Fazon
- New Mexico
- Desert Raven
- Dear Friend
- Love To Love
- Angel (cover)
- Can We Really Party Today
- Desert Trip
- Rolling Universe
- Moses Pain
- Ballad of the Pines
- Valley of a Silver Moon
- Gentle Spirit
- Trials
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