Living in the arse-end of the world, there are a number of things you just have to get used to. New Zealand are unlikely to ever host the World Cup, but on the other hand we’re probably likely to survive nuclear armageddon (if it ever happens). Give and take; rough with the smooth.
The other thing is that we’re quite easy to forget about when musicians and bands are planning their world tour itineraries. Sure, we get a whole heap of bands touring here – we’re an attractive destination to tour during the northern hemisphere’s winter – but there are always a number of artists who overlook our small islands.
One of those guilty of this is New York singer songwriter Suzanne Vega. She played in Auckland a couple of weeks ago, the first time here in a staggering twenty five years. It was almost that long ago since I saw her last at Glastonbury ’99 – one of my top five gigs of all time – and so I wasn’t going to miss seeing her again. Premium tickets put us five rows from the front, in Auckland’s fantastic Bruce Mason Centre.
Support came from local singer songwriter Lisa Crawley. Self-accompanied on piano, she was well suited to Vega’s audience with a set-list of quirky love songs (her closing song imagined herself being the wedding singer at her ex’s wedding). My wife liked her so much, she went out to the foyer during the intermission and bought her CD.
Vega started her set Marlene On The Wall, getting her first big hit out of the way. The setlist focused on material from her eponymous debut, follow-up Solitude Standing, and fourth album 99.9F°. Between-song banter was great, with one particularly funny anecdote reflecting on the annoyance of Bono.
Backed by bass player Mike Visceglia, it was the same minimalist set-up (acoustic guitar and electric bass) as I saw at Glastonbury ’99. There’s a wonderfully ethereal quality to Vega’s voice. It’s so rich, she almost sounds as though she’s harmonising with herself. The jovial Visceglia just looks happy to be along for the ride – he’s been playing with her since 1985.
While I enjoyed the intimate feel of the gig, it’s the second time I’ve seen her play in this format. Hopefully she’ll bring her full band if she makes it back to New Zealand in the next twenty five years.
While the audience was mostly reserved, one incident near the end of the night really made me chuckle. Hearing Vega playing the opening chords of Luca, one middle-aged lady on the end of the first row jumped up, clapped her hands, and started dancing. “This is the one,” she was probably thinking. “Songs about child-abuse are my jam!”
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