Thankfully, this was an evening all about feelings, on a day when, in common with other progressives in the UK, I was in shock and dismay after a surprise election victory for the Conservatives. From my perspective, emotion did not appear to be a high priority for the millions of Brits who had just voted for a Government so lacking in compassion for the disadvantaged. Yet, they were at the heart of the incredibly sensitive support act, Flo Morrissey. Eschewing material priorities, the 20 year old from London left school to pursue a love of music, and her music has an emotional maturity which belies her age. Performing solo playing acoustic guitar, and at the end of the set piano, she's clearly drawn inspiration from the 60's folk tradition. Although, inexplicably, some in the venue continued to chatter, I was touched, and for the first time that day, managed to escape from the troubles of the world, through the healing power of music. Flo turned out to be a most apt opener.
Feelings are also at the heart of Tobias Jesso Jr.'s work. It would be easy to be distracted by the buzz around the Canadian: this show sold out early, and Pitchfork's Best New Music accolade has bestowed hipster credibility. The 70's influence behind his music has led Tobias to be bracketed with two other sensitive male performers with strong, recent album releases: Matthew E. White and Father John Misty. Goon was produced by JR White, who gave Tobias his break after he sent him demos almost by accident, after he made contact to commiserate over the demise of Girls. Yet, last night, the album's glossy production with horns was stripped away: this was a low key, solo gig in a small venue. Tobias is bringing a band to Manchester in November, when the sound of the album will be created more faithfully. Here though, the essence of his surprise success was given greater clarity.
Tobias' breakthrough has come in spite of his pianism. He started playing his sister's instrument in Vancouver just two years ago when his own guitar equipment was in storage in LA, and frankly his plodding chords have all the finesse of a beginner's. Some may have been relieved when, mid set, he arrived at the two songs with guitar, and others may have yearned for that band. Furthermore, his voice may be touchingly fragile, but frankly is limited in range. When Adele described How Could You Babe as 'fantastic' to her 22 million Twitter followers in January, she didn't have technical expertise in mind. Instead, she instinctively recognised his power to connect emotionally with an audience, the key to an act which considered objectively, shouldn't really work. The songwriting may be uneven at this stage, with sometimes facile lyrics, but there's a remarkably soulful tenderness, which connects directly with the heart.
Tobias also exudes authenticity. He released his first demos after a painful break-up, when he'd just found out his mother had cancer, and had been hit by a car whilst cycling. Hollywood in particular autobiographically describes a life falling apart, which many will have little difficulty identifying with. The on stage persona is also incredibly charming: he's a humble, gentle giant, all too aware of his limitations and seemingly still surprised that audiences continue to make the effort to see his act. That they do is in part due a timeless, John Lennon like gift for melody, but even more for an expressive, fragile magic in his vocals that conveys feelings so directly. Most of his songs are about heartbreak, but his personality was incredibly warm and humorous; it was a joy to observe him smiling warmly at an audience member stood beside me. Amidst such depressing world events, Tobias is a reminder of a deeper set of values which speak so much more profoundly of the human condition than the market ever can.
Setlist
- Bad Words
- True Love
- Can We Still Be Friends
- Cover
- The Wait
- Tell the Truth
- Just a Dream
- Can't Stop Thinking About You
- Cover
- Hollywood
- Without You
- How Could You Babe
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