Joan As Police Woman/ Adrian Deutsch
Jive
Thursday 9 October


A dense sit down audience greeted folks coming in during Adrian Deutsch's opening set. Though they were chatting and listening, mostly it seemed that everyone was securing a place for the main act. As often occurs during a quiet support act, the audience murmur could be heard above his serious pop. Deutsch had a liquid, lucid sound, using two microphones at different times, for different effect and proved a competent opening act.

Joan Wasser came out all space diva - complete with bronze Cuban moon boots - to loving hoots. I was surprised at the following of Joan As Police Woman though I'm not sure why. If there was anyone not quite on board at the start of the show I would wager they had climbed on by the end. Endearingly nutty between songs, contorted and at times witch-like during songs, Wasser is a magnetic, natural performer. Her band mates, bassist Rainy Ortega and drummer Parker Kindred clearly do more than accompany Wasser on her collection of intimate and beautiful songs. They add much to the warm keys which form the backbone of most tracks. Both are skilled and inventive on their instruments in addition to adding a unique range of vocal parts, including those done on the recorded version by Rufus Wainright and Antony Hegarty. At one stage I mistook Kindred's very background vocal as a violin, later it was as Tuvan throat singing. An impressive, masterful subtlety.

Joan As Police Woman started with Honor Wishes, which opens the new album 'To Survive', and already it made me love the recorded version more. The richness of an electric piano sound together with bass offered a warm soul mood, Wasser's voice has a wide range, jazz in tone, and songs like To Be Loved indulge that and weld it to a pop sensitivity that adds a lightness and demonstrates her skill as a songwriter. Quiet, introspective moments such as To Survive were like those dramatic parts in a musical where the main character sings their inner turmoil alone, the other characters having left the stage. Indeed her players left Wasser to do just that. The sound throughout was excellent and very faithful to the recordings.

Highlights were the more lively songs from the debut album 'Real Life', The Ride and Anyone being personal favourites. I Defy was dedicated to Antony (and the Johnsons) Hegarty, who sings on the recorded version and Wasser advertised to the audience he has a new EP out. Later in the set she dedicated We Don't Own It to Elliot Smith. The song is one of the few she swapped to a guitar to play and, with Chrisobel, was the best of these guitar-led songs. The latter really built to the most rock moment of the night - until the ultimate track and crescendo To America, the last song on 'To Survive'. This went into the sounds of fireworks and Catherine Wheel squeals, creating a huge finale for what was a relatively quiet, intimate show. Being able to see a performer of this ilk up so close was very special.

Narelle Walker

Pic: Julie Richards