matthew nedbalsky was kind enough to let me use his pretty shot of very pretty joanna newsom tuning her harp before last night’s exceedingly pretty show at town hall for my observer review. all in all, a good day for prettiness. thank you, matthew.


matthew nedbalsky was kind enough to let me use his pretty shot of very pretty joanna newsom tuning her harp before last night’s exceedingly pretty show at town hall for my observer review. all in all, a good day for prettiness. thank you, matthew.
#551: joanna newsom - soft as chalk (on late night with jimmy fallon, 2010)
it took a while for the wonderful singer and harpist joanna newsom to start her sold-out show at town hall last night. lou reed slumped in an aisle seat, looking unamused. he puckered his lips absentmindedly and stared straight ahead. he sat one row behind ms. newsom’s companion, andy samberg, and his friends from saturday night live, who seemed much happier. antony hegarty, mr. reed’s sometimes collaborator, said a quiet and rickety hello to a fan near the door.
“sorry,” ms. newsom said when she took the stage. “i was just talking to a guy who said i was awesome.”
the last time she had a new york city show as big as this, she played with the brooklyn philharmonic at bam in february 2008. those songs were from her hugely sumptuous and lush last album, ys, and they were ocean-sized thanks to arrangements from van dyke parks, the beach boys colleague: “violins, voices, the harp, horns and harmonies shook and bent and swelled together until everything bulged and burst,” the observer wrote then, “and bubbled up again.”
last night she brought only a quintet, who played pared-down arrangements of her new album, have one on me, which is downright modest compared to the last one. after one song alone on the harp, she was joined by her new album’s arranger, ryan francesconi, who plays electric guitar, banjo, and a bulgarian tambura (which sounds annoying, but it isn’t), plus a drummer, two violins, and a trombonist.
it’s the difference between a forest and a garden. but the economy was lovely. the violins waltzed with the swirls of harp. melodies popped up, twisted around, crouched down, and started again. tempos swayed forward, hung back, and hurled ahead. momentarily thumps of drums sounded like approaching armies. an electric guitar sprang out on baby birch and let out dixie twangs on soft as chalk.
it would be easy to miss the old lushness, considering that have one on me is a two-hour, three-cd album, but it’s easier to be swept along by those surprises, ms. newsom’s skyscraper falsetto, and her technicolor harp. the village voice’s rob harvilla, in fact, would prefer to hear her alone.
the guitarist kevin barker opened the show with a set of very easygoing, very mid-tempo, very lukewarm music. his bassist wore a watch and chain on his vest, and actually seemed to check the time at one point. the drummer played the triangle: he had very long hair that looked well-conditioned. so did mr. barker. together they made music that would be good to listen to in an armchair in socks.
ms. newsom, even without a philharmonic behind her, makes music for seafaring, blossoms, spacewalks, and first kisses. [from the new york observer]
#16: joanna newsom - clam, crab, cockle, cowrie (2007)
last night i saw one of the most ecstatic, lovely shows of my life. this is what i wrote for the new york observer:
The hummingbird-voiced harpist Joanna Newsom played the first of two shows with the Brooklyn Philharmonic at BAM last night, and it wasn’t cutesy or quirky or kitschy.
It was glorious.
But four years ago, when she was 22 years and two months old, Ms. Newsom’s debut, The Milk Eyed Mender, an album of squeaky folk yarns about bridges, balloons, beans, books, peaches and plums, came awfully close to irritating. Here, the whimsical top-of-her-range squeals (“But ships! are fallible, I say/ And the naut!ical, like all things, fades”) were gone, and her soprano and harp glistened together.
Her album Ys, a five-song epic named for a flooded mythical city, was huge and pristine onstage: violins, voices, the harp, horns and harmonies shook and bent and swelled together until everything bulged and burst, and bubbled up again.
Whimsey is out, grandeur is in. The orchestra, arranged by the pop maestro Van Dyke Parks (he collaborated with Brian Wilson, produced Ry Cooder’s debut, and once declined to join the Byrds), has turned Ms. Newsom’s music around. She now sounds less like Joni Mitchell and more like Duke Ellington.
And, oh, did the beautiful Brooklyn audience like it. There were three standing ovations from the swooning young crowd. In the span of five rows, Amy Poehler and Seth Meyers sat with Andy Samberg (rumored to be dating Ms. Newsom); David Byrne was dressed in white with a yellow helmet, and was that Francis Ford Coppola filling out a BAM questionnaire alone?
The orchestra left for the second half, when her band—a drummer and a violinist who both sang, plus a banjo player that sometimes switched to a tambura—played old songs and two new ones. It was even prettier: “Inflammatory Writ,” the most irritating song on Milk Eyed Mender, had a honky-tonk lull; “Clam, Crab, Cockle, Cowrie” became a Tom Waits-worthy lullaby.
Even the banter was good. In the second set, the barefoot drummer held up an Obama shirt: “He has a more liberal voting record, more progressive, than Kucinich, even!” Ms. Newsom said. “My friend Jamie went to Nevada. We really love Barack Obama.”
“If anyone wants to talk,” the drummer said, “if you’re leaning in the other direction, just give me 30 seconds. I went door to door in Iowa!”
The world tour for Ys, backed by different local orchestras, ends tonight at BAM’s Howard Gilman Opera House.