GIG REVIEW: Adam Green
- Posted on April 10, 2008 11:48 AM
- 0 comments
Adam Green
Koko, April 8th
Review By Joanne Conlon
There’s a chill of excitement in the air as the lights dim down on koko’s stage, though I can’t help but wonder how many people are here because of the Juno-mania that’s given Adam Green’s profile a generous boost of late. After support from Noah and the Whale, who entertain with beautifully crafted folk-come-hoe-down and oh so sweet vocals from a fitting Laura Marling replacement, the crowd are in high spirits, and the balconies adorned with smiling faces.
The main man eventually tumbles onstage looking ever so slightly off his face, and my first thought; “He’s let himself go a bit?!” Carrying a tad more weight and generally oozing less charm than I remember, I wonder what sort of a night is in store. Within moments the backing band, armed with two session singers, strike up Festival Song from recent release Sixes & Sevens, and while Green might not be letting on that he knows where he is or exactly how he got here, he doesn’t miss a trick. Flailing his fringed arms about and dancing around like a toddler at a wedding reception, the moldy peach croons through the big band sounds of Jacket Full of Danger and Sixes & Sevens, to the more obscure but hugely popular Gemstones. There’s even a grand, nostalgic version of Dance with Me.
The band take a back seat and exit the stage, leaving Adam fly solo with his acoustic guitar, and for the first time tonight he looks vaguely sober. A flawless rendition of No Legs and an acoustic sing-a-long of Emily ensue as the crowd hang onto every intimate word. The only thing missing is Green’s usual quirky anecdotes between songs, but seeing as he can barely string a sentence together outside of his album lyrics, I’ll let him off.
The latter part of the evening takes it back to the old skool with We’re not supposed to be Lovers and a glorious Friends of Mine, where the strings are replaced with a snazzy keyboard. Green looks chuffed with himself and continues to bounce around like a giant rabbit and walk like an Egyptian – but if the music’s this good, why the hell not? After a rapturous Baby’s Gona Die Tonight they all stagger offstage, only to return almost instantly, when the man who’s spent the past hour screaming ‘Jesssiiiicccaaaaaaaaaa’ is finally put out of his misery. Well worth the wait I say.
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