Thursday, 3rd of June 2010
The Forum Theatre, Melbourne
"We like to rock."
So were the opening words of Rickie Lee Jones on her return to Melbourne after a lengthy absence. A somewhat enigmatic figure in rock and roll, Jones has produced a diverse catalogue since achieving stardom with her early jazz and folk influenced releases in the late 70's and early 80's. Though her profile does not match some of her peers who continue to embark on gratuitous "comeback" shows, this performance at The Forum suggests Jones is in fact in a category of her own. She does her own thing, and does it extremely well.
The "we" in her opening statement refers to Jones and her two fellow band members - Jose Maramba on bass and drummer/keyboardist/percussionist Lionel Cole. This is a combination of musicians with a strong rapport and a massive amount of talent. They perform with a confidence and assuredness present in the very best bands, and the affection and respect found in the the finest of friends.
According to Jones they play sans setlist, with Maramba and Cole taking their cues from the opening notes of each song and then chiming in seamlessly. Jones has a magnetic stage presence - her slack attire and laid back presence belie an artist who gives everything to her performance. The control she exhibits in that voice - angelically high one moment, devilishly deep the next - is astounding. It is a unique instrument of terrific power.
As suggested, the set begins with sparse rock from more recent recordings. The long dark broodiness of 'Trouble Man' is an early standout, with Jose Maramba's smooth bass playing complimenting Jones's raw guitar work and smoky vocal. The musical talent of the three is compelling: Jones switches between guitar, piano and drums, Cole plays drums while also handling keyboard and synths(sometimes simultaneously), guitar and accordion, while Maramba is a bass player with a terrific feel who often implements a bow to create a convincing cello or violin effect.
Most songs are greeted with appreciative applause from a rapt audience. Early career favourites such as 'Last Chance Texaco', 'Satellites', 'Must Be Love' and 'We Belong Together' are magic - superbly written songs that stand as strong today as the day they were written.
It is when Jones takes the piano and begins telling of her recent foray into her daughters ipod playlist that the night elevates to higher levels. Jones explains her admiration for Tegan and Sara and - to her own surprise - her growing appreciation for dance music. The band then launch into an amazing rendtion of 'Living It Up' from 1981's Pirates. With the stage glowing a phosphorescent red and the band busying themselves generating an irresistible synth groove, Jones conjures this song into something truly wonderful. It sounds fresh and vital, it sounds like the best thing I have heard in a long, long time. One girl in the audience seems to agree, dancing her way down the aisle to the front of stage where she lashes her hair and dances as if no ones watching. It is an ecstatic song and the highlight of the evening.
Perhaps most impressive is that through all the lights and the electronics and the emotion, Jones maintains her role of the story teller. This is a songwriter who respects her craft and has not become jaded. Rickie Lee has not forgotten one of the most important aspects of making music: that it should always be fun.
The sleazy blues of 'Coolsville' follows soon after, with Jones dipping her voice to deep dark depths and exhibiting some of the whiskey and cigarette influence of her wild days in LA. The diversity of her work in combination with her charming character create a performance that is constantly absorbing. Her humility shines through in each song and in her intimate banter between songs. A brace of numbers later in the set are especially revealing, almost painful, in their raw honesty. 'Bonfires' is preceded by Jones lamenting the pain of betrayal and the hard lessons it teaches. As she sings her voice cracks, the heartache and pain of the song very real. The sensitivity of her lyrics suggest a spurned teenager lover, yet also display a wisdom gained through a full life and a philosophical approach to suffering.
'Wild Girl' is lovely, a poignant message to her teenage daughter Charlotte. It is sang as it was written: a loving message from an adoring mother to her child. The most moving performance is an extended 'His Jewelled Floor' from recent album Balm In Gilead. A farewell song to the departed, it is spiritual and touching though never melodramatic. It extends past the ten minute mark as the three piece change instruments several times and build a wall of sound that the world's best post-rock bands would be impressed by.
It is almost overwhelming for audience and band alike, though Jones still has a few numbers left. She plucks 'Albatross' from obscurity - another deeply personal song about her family - and then, to close, performs a great acoustic version of 'Easy Money'. Replete with smutty verses from Lowell George, it is a delightful conclusion to a memorable concert. Rickie Lee Jones is a treasure in every sense, a remarkable talent who deserves her own special place in the canon of rock and roll. A wonderful, intriguing concert from a beautiful soul.
by James Baker
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