Concert Review: Norah Jones
Norah Jones played to a sold-out, rapt audience on Saturday night. The majority of the songs she performed were from her fourth and latest release, The Fall, a collection of songs inspired by a painful break-up and classified by one critic as “avant-roots.”
It’s hard not to like Norah. She’s adorable and magnetic. (Even though we’ve never met, I find myself referring to her by first name only.) She’s also an extraordinary songwriter. How could you not fall in love with Come Away With Me? The songs from her 2002 breakthrough smash elicited the most response and inspired a drunken, stumbling waltz by the couple sitting next to me. (“Let’s dance, baby,” he said.)
Along with her five-piece band, Norah’s silky, breathy voice carried us through over an hour and half as she switched back and forth between piano and bass. There was little movement on stage besides the coming and going of her female guitar tech. It was hard to tell from my seats at the extreme left of the stage. She threw out a little banter, commenting about barbecue, vegans and potheads, and how “hilarious” the front row was — probably because they had enough scratch for those expensive-ass cocktails at the Midland. (Side note: According to an ultra-friendly AMC representative, Norah had it written into her contract that the performance would be “silent” — meaning no selling of drinks at the back bar in the room while she was onstage. Sigh.)
Honestly, though, more overpriced shiraz would have just put me to sleep. I couldn’t fall under Norah’s spell. Even the cover of Wilco’s “Jesus Etc.” couldn’t shake me. (I was more entertained by the fleeting thought of a future Norah Jones/Jeff Tweedy Austin City Limits date.) Norah ended with a faster, unsatisfying version of “Lonestar” that sounded closer to her new adult contemporary stylings than her old stripped-down jazzy beginnings. I discovered that I’m not down with Norah 2010.0; but, I can see where others find it appealing and saucy.
Norah is undeniably hot when she sings and plays her acoustic guitar; but it never came out that night. Her backup singer, Sasha Dobson (also scoring high points in the looks category) played acoustic while Norah was behind a rather chunky-looking bass or at the piano. Sadly, I was unable lock into her stare, since I didn’t have the best angle most of the time.
The opener, fellow Texan Sarah Jaffe had a somewhat fresh spin on the woman-with-guitar sound. Go here check out “Clementine” a cut from her upcoming full-length, Suburban Nature out in a couple of months.
Norah Jones’ Set List:
I Wouldn’t Need You
Tell Yer Mama
Light As A Feather
Even Though
Young Blood
Rosie’s Lullaby
Waiting
Cold, Cold Heart
Sunrise
Long Way Home (Tom Waits cover)
Jesus, Etc. (Wilco cover)
December
Man of the Hour
Back to Manhattan
Sinkin’ Soon
You’ve Ruined Me
It’s Gonna Be
Come Away With Me
Strangers (The Kinks cover).
Encore:
Don’t Know Why
Stuck
Lonestar
