Inside the Melbourne Recital Centre’s Elisabeth Murdoch Hall, the rich vocals and melodious guitar work of Tiny Ruins (aka Hollie Fullbrook) entranced with her equally elegant and tranquil air
Inside the Melbourne Recital Centre’s Elisabeth Murdoch Hall, the rich vocals and melodious guitar work of Tiny Ruins (aka Hollie Fullbrook) entranced with her equally elegant and tranquil air. The New Zealand singer-songwriter’s delicate musings on relational complexities – spliced beautifully with ethereal images – were delivered with poise and purity.
Witnessing Joanna Newsom live is an experience in sublime virtuosic musicianship and captivating narrative. On stage, the Californian harp virtuoso is accompanied by a supremely talented five-piece band comprising Ryan Francesconi (guitar, banjo, recorder), two violinists, a percussionist and trombonist. Newsom opened with The Book Of Right-On (from her 2004 debut album, The Milk-Eyed Mender) and the title track of her third album, Have One On Me; however, it was her performance of Easy that would proved revelatory as it moved from eerie pensiveness to sultry, jazz-infused transcendence. Newsom switched to piano duties for this six-minute orchestral beauty; her inimitable turn of phrase resplendent throughout: “How I am worn to the bone by the river / And, in the river made of light, I’m your life-giver / I will give my life.”
Newsom’s sweet disposition is paired with a softly confident wit. After a spirited (yelp-friendly) performance of the calypso/blues-tinged Colleen, she informed the audience that the second of her Melbourne concerts – the final of her 2011 Australian tour – would be a “rocking out’” set (“that’s what you’re supposed to do at concerts, right?”) just as one of her violinists sipped gracefully from a sparkling white tea-cup. This moment of hilarity proceeded into one of Newsom’s most sprightly compositions, Inflammatory Writ.
From her incredible three-disc third album, Kingfisher, Soft As Chalk and Good Intentions Paving Company were also performed. One of Newsom’s most adventurous compositions, the baroque/gypsy/chamber-folk epic Monkey & Bear captivated loyal fans while Sawdust & Diamonds was a sublime surprise for her encore. Newsom’s highly literate, poetic narratives are enthralling (regardless of how pretentious one may deem them to be) and the way in which her meticulously-crafted harp arrangements transport her imaginative, imagery-laden prose is startling.
Although Plum, Peach, Pear is Newsom’s most well-known track and undeniably irresistible, it was somewhat surprising to hear her close with the number, not that anyone was complaining. Newsom is a consummate professional and inspires awe as soon as she graces the stage, draped around her harp. Newsom’s voice has also improved exponentially and, having unveiled superior albums with each release, she’ll continue to build on her already steadfastly loyal fan base.
Loved: Experiencing the otherworldly brilliance of an inimitable virtuoso.
Hated: The fact that less than a dozen songs can be squeezed into the set means that a few favourites will inevitably be left off.
Drank: House sparkling.
