Beth Orton
17-18 Jan ,
Around Town,
Blues,
Book Early,
Folk,
Gigs,
Indie,
Music,
Rock,
Sydney Festival
Critics' choice
First published on . Updated on 19 Jan 2012.
As latecomers take their places in the City Recital Hall the lights fade on this, Beth Orton’s first live date in Sydney for six years, and the official mark of her return to the scene since touring her last album, 2006’s Comfort Of Strangers.
Her shy figure emerges and cautiously acknowledges the sold out crowd before commencing her performance with a choice selection from across her back catalogue, hitting her stride with the country-drawl of 'Countenance'.
“I don’t know what to say to you,” she coyly admits shortly afterwards, before playing 'Touch Me With Your Love'. And herein lays Orton’s charm.
From this point on the initial signs of nerves become increasingly evident, particularly in a venue with such sublime acoustics, but this fails to tarnish events. She is refreshingly self-deprecating whilst completing her prolonged guitar-tuning and speaking semi-audible chatter between songs. This is all part of her appeal for those who have followed her career to date.
With a new album ready for release, tonight sees Orton arrive with a collection of new material. Orton’s musical direction has thankfully not strayed too far away from her strengths, but there has been a clear shift in approach and a newly found self-believe in her song-writing. This is most probably the result of her time spent with the late Bert Jansch.
There is a scattering of these songs amongst the more familiar sounds on tonight’s setlist, and they succeed in blending into the mix without jeopardising the flow of events. Accordingly, the piano-led ballad 'Candle' links hands with the free-flowing 'Conceived' and the lullaby melodies of 'Sweetest Decline' like long lost friends.
Part-way through the show, she is joined on stage by her partner and fellow musician Sam Amidon (also on the Sydney Festival bill), who noticeably increases Orton’s confidence. They breeze through a handful of re-energised ‘oldies’ which iron out any earlier creases in the show. 'Sugar Boy' is both wistful and beautifully harrowing, with the dejected optimism of 'Shopping Trolley' providing the perfect antidote. A Celtic-influence can be heard on another new track which borrows heavily from William Blake’s ‘A Poison Tree’, and gives an extra dimension to an already beautiful piece of work. The duo concludes their time together with a faultlessly harmonised rendition of 'Concrete Sky' which provides one of many highlights.
The night draws to a close with the career-breaking 'She Cries Your Name' and the equally commendable 'Central Reservation'. Continuing with the big-hitters, a note-perfect airing of 'Stolen Car' begins the short encore (although it does begin with a rather fitting false start) and ends with a low-key and simplistic cover version of ‘Ooh Child’ by The Five Stairsteps.
Whilst this review may fall one star short of perfection, Beth Orton still shines as a musician after a long absence from the stage.
Words by Stuart Holmes
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