James Taylor at The O2, Dublin on July 12th 2011
Review: David Dooley
Photos: Sean Smyth
It is with some trepidation that I approach Dublin’s o2 arena. With a mere 45 minutes before James Taylor’s 8pm start, the area is looking unusually scarce for such a big name gig. Was everybody else inside already seated? Were they running a bit late? Or were they just planning on not showing up. Upon entering the main arena a simple explanation was in place: half of the arena had been cordoned off with a giant black curtain reducing the o2’s capacity greatly but in turn giving the venue a far more intimate setting. Whether this cordon was due to poor ticket sales we’ll never know but it means Taylor will be playing to a sold out crowd tonight in Dublin’s newest (and possibly only) 5,000 seater venue.
Following his seven piece backing band onto the stage a very tall James Taylor assumes his position centre stage and gets right down to business with Buddy Holly’s ‘Everyday’. What a well chosen opener with it’s short run time and upbeat lyrics. Tonight’s audience are getting a musical education from an icon in a bygone era who decades later still retains all the talent that made him. Taylor wastes no time this evening acknowledging where he is with a polite ‘Hello Dublin’ to welcome us.
Following his pitch perfect opener Taylor introduces his next song ‘Something in the Way She Moves’ as the first song he was comfortable enough to play in public but also as the song that got him signed to Apple Records after he played it to none other than Paul McCartney and George Harrison. Saying that he was as nervous a dog on meth before they listened is not the kind of metaphor you expect from a folk singer in their sixties.
Keeping the steady pace is the self described ‘shameless flower power number from the same period’ that is ‘Blossom’. It is around this point, an entire three songs into tonight’s performance, that one member of the audience decides to very vocally advise Taylor on what song he’d like to hear next by screaming ‘Sweet Baby James’ from the back of the arena. Ignoring it as a once off heckle Taylor disregards it to introduce his own Tom Jones moment in the show as he takes off his jacket.
‘Your Smiling Face’ brings the pace of the gig right up from it’s mid tempo folk and gets the first real interaction from the crowd with its clap along bridge. The kick in the tempo is clear from the stage with Taylor leaving the confines of his centre stage stool to bounce around, acoustic guitar in tow. Not only are we surprised to see a man two years away from a free bus pass bouncing about but it takes James by surprise too. ‘I’m surprised that came out of me’ he confesses after the song; so were we James but with the pace of the gig clearly raised we’re all the more grateful that it did.
After a continuation of the ‘Sweet Baby James’ cries from the back of the venue Mr Taylor must see this guy as enough of a nuisance that he feels he should address him, and what a quick fire response Taylor has in store. Barely a blink has gone by after the latest cry from the eager fan that Taylor picks up his blackboard setlist, turns it to the audience and jokingly explains that it will be played tonight and if he played it now as requested that there is nothing stopping the eager fan from leaving upon it’s completion. Set writing 101 from the man himself! It’s not every day you have the act justifying their setlist arrangement to a sole gig goer.
Taylor’s gig can be split down the middle quite easily as half music, half talking with each song either getting a lengthy explanation before or after the song. These composer side notes range from the more standard explanation of the song, to the more absurd ‘this next song takes more time to perform than it did to write’, to the jokingly self-deprecating: ‘I’ve written the same ten songs about fifteen times’ and ‘I think this next song sucks, I’ll feel better when it’s over’. It certainly is a refreshing change to hear such honest opinions of an artists works from the artist themselves.
Before wrapping up the first half of the show Taylor quips that he neither sees the point in the 20 minute interval but assures us that they have the interval very well rehearsed. Putting the break to good use Taylor makes his way to the front of the stage and begins to sign all manner of souvenir placed in front of him from a mob of adorning fans eager to get a personalised souvenir. The house lights go down, Taylor is frantically still signing. The band return to the stage, still signing until after clearing the mob by appeasing their need for his signature the show gets back under way.
Continuing tonight’s musical education we’re treated to a Lead Belly cover in the form of Western Plain (When I Was A Cowboy). The pace begins to quicken as the band begin to move out of the shadows for the latter part of the show for the song that ‘took less time to write than it does to perform’. An interesting prospect and one that I’m not sure I totally believe especially as the song contains a brilliant haunting organ solo that meanders into a guitar solo.
Finally the moment one very eager fan has been waiting for, the arrival of the cowboy lullaby ‘Sweet Baby James’. To say this song went down a treat would be an understatement. Going down as the biggest reaction, even against the more upbeat numbers that preceded it. Who knows if the impatient Sweet Baby James fan stayed after the hit was finished as an even bigger singalong was coming up next with ‘Fire and Rain’. Mexico brings some fresh textures and rhythms to the proceedings which are a welcome change complete with a sultry Hendrix inspired guitar solo.
Wrapping up this two hour plus performance is an extended version of ‘How Sweet It Is To Be Loved By You’ that had everyone on their feet. Taylor moves from centre spotlight during the songs bridge to give his legendary backing band a chance to shine; cue some smooth basslines, piano fills and the odd guitar solo. Unfortunately I was not to find out if this was to be his last song due to some unfortunate bus timetabling meaning I had stayed to the last second possible before a dash out of the o2 but left the arena after this two hour performance feeling properly entertained by an absolute master in his field, a man who could gently command the room through song or story.