A shocking entry
The talented Canadian artist made her appearance on stage and began her concert three minutes ahead of schedule, when there was still a good number of attendees entering the venue. This forceful beginning evoked her first steps in music during the nineties, when the industry was intensely searching for a jazz singer of Caucasian descent, a field historically led by African-American voices. As if that were not enough, if she played the piano, even better… Decades later, her astonishing success, with 15 million copies sold and a multitude of international awards won, guarantees her substantial fees. However, recent musical production has lacked innovation and risk, becoming a conservative and repetitive style, staying within the margins of the genre and excessively stretching those lyrics that revolve around the myth – simplistic and naïve – of romantic love.
The beginning of the concert
The first song of the night, “Almost like being in love”, is a standard that is part of their latest album titled “This Dream of You”. With a soft voice and a calm cadence, the performance seemed to want to recreate the cozy atmosphere of a cabaret or a nightclub, a feeling that was reinforced by the warm lighting in red and lilac tones. Despite the humidity that forced her to frequently adjust her hair, the performance of the concert showed strong confidence, releasing a modal jazz of great intensity, driven by intriguing improvisations and sinuous rhythms in classics such as “All or nothing at all”, “I’ve got you under my skin” and “Let’s fall in Love”, all widely recognized thanks to Frank Sinatra, who is undoubtedly one of his greatest influences. Accompanying the artist on this Spanish tour were drummer Matt Chamberlain and double bassist Sebastian Steinberg, both with previous experience in American alternative rock. This solid track record positions them as excellent stage partners, with the work of Steinberg being especially notable, who quickly captivated the public with his sophistication and the skill of his resources.
Alone under the moon
After an energetic first part that lasted about 45 minutes, the musicians accompanying her left the stage, leaving the diva alone and dazzled under the full moon that rose in the east. This solo performance gave him the opportunity to perform some iconic songs inspired by our natural satellite, such as “It’s only a Paper Moon”, “Moonglow” and, of course, “Fly me to the Moon”. This small tribute to the moon created a favorable moment of emotional communion with the audience, although at times the singer seemed distant, almost alien, and in a dreamlike state, especially when interacting with the audience, with a neutral tone to what one could be compared to the safety instructions of a flight attendant. Her powerful contralto voice has the ability to fill every performance, but variations in delivery became overly similar and monotonous from song to song, while the usually energetic piano solos became more predictable and lacking in expressiveness. .
A decreasing fluidity
As the night progressed, the pace of the show seemed to slow down and lose power. The final section of the concert, without a doubt, presented moments of drop in energy and disengagement, despite the enormous potential of their repertoire, which included “Mr. Soul” by Neil Young, “Simple Twist of Fate” by Bob Dylan and classics from Irving Berlin’s ragtime songbook, such as “How deep is the ocean” and “Let’s face the music and dance.” The lack of timbral and harmonic variety, as well as the slowdown of the tempo, were evident, with passages that decayed to almost sedative rhythms of heaviness.
An attempt to reconnect
It is true that the persistent noises of dishes accumulating in the nearby bars did not help the atmosphere, but it is also true that their attempt to connect with the public in this imaginary jazz club did not quite bear fruit, affected by a moderate volume, slow rhythms. and slurred melodies, all often centered around the recurring word ‘love’. Apart from some isolated shouts from unconditional fans, there was a feeling of coldness in the audience, who were unable to light up or connect with the singer. While some spectators chose to leave, turning their backs on the artist, despite the peaceful night she was enjoying.
An encore that arrives late
However, the artist attempted a revitalization in an encore that was vibrant, agile and inspired, beginning with “Take it with me” by Tom Waits, even making a reference to the Californian singer-songwriter’s characteristically guttural lyrics. Finally, the performance culminated after a considerable time of 1 hour and 45 minutes with “Ophelia”, an old anthem of The Band, performed in a festive and lively register. But unfortunately, it was too late, both in terms of time and the possibility of redemption.