After many recent gigs of the heavy persuasion, I'm overdue a dip in the musical waters of another flavour.
It so happens Beth Orton is in town (30 April), and where better to experience her live performance of moody and melodic tones than within the ambience of the majestic Tivoli.Along with a healthy representation of fans gathering inside The Tiv, we wait patiently for our headliner, and only act of the night, who may be running a tad behind schedule.
A collective sigh of relief is expelled followed by a warm welcome when Orton finally takes to the stage with Aussie James Gilligan (on most things strings), Ben Sloan (drums, percussion, keys), Jessie Chandler (synth, keys, backing vocals – let's just say multi-instrumentalist).
Image © Clea-marie Thorne
All is forgiven for the minor delay when Orton and the band crack the night open with crowd pleaser 'Weather Alive' – the title track of her 2022 album. Our response is positive cheers before it has even really begun, which brings a wry smile to Orton's lips and another when hearing our rowdy cheers at its conclusion.
The authentic and feminine feel of 'Friday Night' transparently reveals the innate beauty of Orton's emotionally exposed vocals and the gently impactful vibe of the instrumentation as together they wash over us. A crooning crowd are heard at times when Orton's pipes take on a breezier vibration at lower decibels at points in the song.
I am excited for 'Fractals', which gets a punchy-pop vibe back in the room with its toe-tapping slapping bassline. The room gets an uplifting feel and there are silent nods of agreement around the room as we take it all in.
We get more including the likes of 'Central Reservation' from the album of the same title that leaves punters ecstatic with mobiles held up to capture the moment. Orton makes a slip-up and calls us Byron instead of Brisbane, which gets calls from the crowd, Beth offering a sombre apology that is of course accepted.
'Paris Train' from the album 'Daybreaker' is another older track the audience laps up leaving the room swaying and singing along. Right now for me, early Orton comes to life during the live performance of 'Forever Young', also from 'Weather Alive'. I wonder if that was part of settling on the album title too. I'm vibing an Orton from many, many moons ago.
Chandler brings out the sax for a third, jeez maybe even a fourth time for another fan favourite 'Arms Around A Memory'. Oh gee! This is the best sax solo from Chandler so far. Even the crowd agree with me as a raucous cheer erupts in awe of his mad skills.
Orton smiles at the attention he just received and looks towards Sloan with a grin. Ha! Sloan is not to be outdone it seems, as he takes the moment to let loose on his kit. Good fun!
Image © Clea-marie Thorne
Sloan should also get a nod and we give him a big cheer too. He has been the heartbeat of the night, with his plethora of beaters, brushes and sticks keeping impeccable beats whether they be gentle, rash or tub-banging manoeuvres.
He has been a joy to witness – both an awesome sight and sound. The only thing I haven't seen him use in a percussive way is rice on his skins. He is brilliant.
Orton is back on guitar for big banger from 'Superpinkymandy'. 'She Cries Your Name' and the room bursts into song right along with her. Everyone knows the words to this one it seems. The place gets a little rockier and the voices of nostalgia become one.
'Pass In Time' brings an almost angelic presence to the room. The flood of feels brought on for various personal reasons for fans in the room leaves many eyes moist. Simple, introspective and emotive – so moving.
Orton tells us they encountered a keyboard mishap, but clearly overcame it before introducing 'Unwritten' as a song about a memory. Fans cheer for it and sing-along with the sweetest voices they can muster.
It can't be the end? Can it? Fans call for an encore loudly and tickle me pink, it's loud enough to bring her onstage once again. The encore has Orton returning to perform another solo for us at the keyboard for 'Lonely'.
Emotionally raw and poignantly honest, the inner dialogue can be felt from the grainy, lazy pop-jazz ambience of Orton's voice to the breathy ending: "Lonely, lonely, lonely, loves my touch."
The band rejoin Orton with Beth out front on acoustic guitar and Sloan taking to the keys this time. A punter yells out from the bar; I'm unsure if anyone knows exactly what this boomer is saying, but Orton responds: "This ain't the end darling. This is just the beginning."
Image © Clea-marie Thorne
I note it's the beginning of the 'Sweetest Decline' and the crowd once again erupts with cheers. Closing out the night are 'Call Me The Breeze' and a classic track lapped up by all in the room, 'Stolen Car'.
From the red-washed stage on Persian-style rugs, Orton gave up an authentic and open-hearted performance with a band behind her that overflowed with unassuming talent. The setting felt intimate with Orton sharing her deepest thoughts and feelings with us.
Beth may have taken different directions with her music and vocal style over the years, for whatever causes or reasons, but she still sells it with a heartfelt sincerity that for me made tonight's show deeply relatable and in bona fide Orton fashion.
More photos from the concert.
