Sufjan Stevens at the Royal Festival Hall
Sufjan Stevens
Madisen Ward And The Mama Bear
Royal Festival Hall, 2 September 2015
Seeing Sufjan Stevens live has to be one of the most sublime and exhilarating experiences I've ever had. I've seen him once before of course, on his Age Of Adz tour, which was something of a spectacular music extravaganza, that left you full of the joy of life. His new album, Carrie & Lowell, though is all about death, in particular the death of his mother and the complicated relationship he had with her. The album, not surprisingly, is quiet and powerful and more reminiscent of his earlier acoustic album, Seven Swans (which just happens to be my favourite Sufjan album) so I anticipated a more low-key acoustic show but what I got was so much more.
As the show opened with a startlingly moving version of the instrumental Redford (For Yia Yia & Pappou) from his Michigan LP, a unique and atmospheric way to ease us into the mood of the show. With his four piece band accompanying him in the shadows, it also made it clear this wasn't a run-of-the-mill acoustic show, in fact with the projections, light show and the songs transforming into something completely different in this live setting, at times it reminded me more of a prog rock show or some kind of psychedelic classical performance.
After this stirring opening, leaving the audience tense with emotion, the band then went on to play Carrie & Lowell in its entirety. There were church-like windows above the stage projecting images throughout, starting with childhood films of Sufjan and his family during the song Death With Dignity, where Stevens left our hearts aching as his echoing voice pleaded "I forgive you Mother, I can hear you, and I long to be near you, but every road leads to an end". The following song, Should Have Known Better, started as a quiet acoustic meditation but by the end had transformed into this amazing electronic symphony. Other songs also had new arrangements, including Fourth Of July and All Of Me Wants All Of You, which almost sounds like a moody trip hop masterpiece.
Other songs were played more faithfully, such as Eugene, which has shades of Elliott Smith in its emotion and gentleness, and No Shade In The Shadow Of The Cross, a sad hymn, with gorgeous harmonies from the talented Dawn Landes (a fantastic artist in her own right), that echoed through the old hall.
Two songs from the All Delighted People EP were seamlessly brought in near the end of the set, the sombre Owl And The Tanager, featuring Sufjan alone at the piano, and the more rousing Vesuvius (and probably the closest thing to the Age Of Adz show). But it was the epic version of Blue Bucket Of Gold, the track that closes the album and also the main set tonight, that was truly jaw-dropping. The sad acoustic number began quietly and built slowly but surely into this beautiful mountain of ambient music that felt like angels rising in the lights up to the heavens. Even the moody lighting was lifted to expose the bare bones of the stage but also the incredible Royal Festival Hall organ, being played tonight by special guest and frequent Sufjan collaborator Nico Muhly.
After not saying one word through this entire performance, as if not to break the sublime spell of it all, when Sufjan returned after a standing ovation he finally smiled and quipped "we've passed through the vortex and survived". Indeed we had but there was even more gold to enjoy in the encore beginning with a sparse and plaintive version of Concerning The UFO Sighting Near Highland, IIinois, with Sufjan a solitary, lonely figure on the stage at his piano.
The seven-song encore saw the band loosen up a little, as if relieved to get through the emotion of the Carrie & Lowell songs, but there was plenty more to make me cry, not least three songs from the wonderful Seven Swans album: In The Devil's Territory, That Dress Looks Nice On You (dedicated of course to Dawn Landes) and the absolutely gorgeous To Be Alone With You. Apparently they played my favourite Seven Swans track, Sister, the following night, which probably would have driven me over the edge but with the quality of this entire show it would be hugely silly to complain.
There was also a bleakly beautiful version of John Wayne Gacy, Jr, Stevens' touching song about the notorious serial killer but the whole thing ended on an upbeat and triumphant note with a truly lovely acoustic version of Chicago, probably his most famous song, and somehow even more powerful stripped down and given a gentle touch.
Before this though I knew I had witnessed a truly special show and it's obvious why every time he announces a UK tour it is so difficult to get tickets. This is one of those concerts you never forget, reminding you of the power of music to move you and also just how live music can be a spiritual experience that can touch your soul in a way a record never could. Obviously this was my gig of the year.
Opening for Stevens tonight was another fantastic treat, a bluesy folk trio from Kansas City made up of a mother and son called Madisen Ward And The Mama Bear. He's the singer-songwriter and she accompanies him on guitar and backing vocals and somehow it's incredibly cool and wonderful. The music was foot-tapping and joyful especially the first single from their debut album Skeleton Crew, the jaunty groove of Silent Movies and the pair were charming and funny. Mama Bear was under the impression that The Beatles came from London and told her what an impression they made in the early 60s on the Ed Sullivan show before sweetly telling us "It's an honour to be in their hometown", "or thereabouts" her son replied obviously rolling his eyes. I was lucky enough to meet them after and got them to sign their LP for me and they were both gracious and sweet. What a lucky girl am I to experience this great show from start to finish.
As the show opened with a startlingly moving version of the instrumental Redford (For Yia Yia & Pappou) from his Michigan LP, a unique and atmospheric way to ease us into the mood of the show. With his four piece band accompanying him in the shadows, it also made it clear this wasn't a run-of-the-mill acoustic show, in fact with the projections, light show and the songs transforming into something completely different in this live setting, at times it reminded me more of a prog rock show or some kind of psychedelic classical performance.
After this stirring opening, leaving the audience tense with emotion, the band then went on to play Carrie & Lowell in its entirety. There were church-like windows above the stage projecting images throughout, starting with childhood films of Sufjan and his family during the song Death With Dignity, where Stevens left our hearts aching as his echoing voice pleaded "I forgive you Mother, I can hear you, and I long to be near you, but every road leads to an end". The following song, Should Have Known Better, started as a quiet acoustic meditation but by the end had transformed into this amazing electronic symphony. Other songs also had new arrangements, including Fourth Of July and All Of Me Wants All Of You, which almost sounds like a moody trip hop masterpiece.
Other songs were played more faithfully, such as Eugene, which has shades of Elliott Smith in its emotion and gentleness, and No Shade In The Shadow Of The Cross, a sad hymn, with gorgeous harmonies from the talented Dawn Landes (a fantastic artist in her own right), that echoed through the old hall.
Two songs from the All Delighted People EP were seamlessly brought in near the end of the set, the sombre Owl And The Tanager, featuring Sufjan alone at the piano, and the more rousing Vesuvius (and probably the closest thing to the Age Of Adz show). But it was the epic version of Blue Bucket Of Gold, the track that closes the album and also the main set tonight, that was truly jaw-dropping. The sad acoustic number began quietly and built slowly but surely into this beautiful mountain of ambient music that felt like angels rising in the lights up to the heavens. Even the moody lighting was lifted to expose the bare bones of the stage but also the incredible Royal Festival Hall organ, being played tonight by special guest and frequent Sufjan collaborator Nico Muhly.
After not saying one word through this entire performance, as if not to break the sublime spell of it all, when Sufjan returned after a standing ovation he finally smiled and quipped "we've passed through the vortex and survived". Indeed we had but there was even more gold to enjoy in the encore beginning with a sparse and plaintive version of Concerning The UFO Sighting Near Highland, IIinois, with Sufjan a solitary, lonely figure on the stage at his piano.
The seven-song encore saw the band loosen up a little, as if relieved to get through the emotion of the Carrie & Lowell songs, but there was plenty more to make me cry, not least three songs from the wonderful Seven Swans album: In The Devil's Territory, That Dress Looks Nice On You (dedicated of course to Dawn Landes) and the absolutely gorgeous To Be Alone With You. Apparently they played my favourite Seven Swans track, Sister, the following night, which probably would have driven me over the edge but with the quality of this entire show it would be hugely silly to complain.
There was also a bleakly beautiful version of John Wayne Gacy, Jr, Stevens' touching song about the notorious serial killer but the whole thing ended on an upbeat and triumphant note with a truly lovely acoustic version of Chicago, probably his most famous song, and somehow even more powerful stripped down and given a gentle touch.
Before this though I knew I had witnessed a truly special show and it's obvious why every time he announces a UK tour it is so difficult to get tickets. This is one of those concerts you never forget, reminding you of the power of music to move you and also just how live music can be a spiritual experience that can touch your soul in a way a record never could. Obviously this was my gig of the year.
Opening for Stevens tonight was another fantastic treat, a bluesy folk trio from Kansas City made up of a mother and son called Madisen Ward And The Mama Bear. He's the singer-songwriter and she accompanies him on guitar and backing vocals and somehow it's incredibly cool and wonderful. The music was foot-tapping and joyful especially the first single from their debut album Skeleton Crew, the jaunty groove of Silent Movies and the pair were charming and funny. Mama Bear was under the impression that The Beatles came from London and told her what an impression they made in the early 60s on the Ed Sullivan show before sweetly telling us "It's an honour to be in their hometown", "or thereabouts" her son replied obviously rolling his eyes. I was lucky enough to meet them after and got them to sign their LP for me and they were both gracious and sweet. What a lucky girl am I to experience this great show from start to finish.
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