Live Review

Newton Faulkner – Liverpool Academy

• 19th Mar 2008

It was always going to be interesting to see who Newton Faulkner would bring to be the support act on this tour-a full electric band, an acoustic guitar virtuoso or even some bizarre performance piece?

It’s a brave move then that he chooses Brandi Carlile, a relatively similar artist-one acoustic, occasionally alone, playing heart felt pop songs. Brave in the respect that it potentially could draw comparisons, be seen as throwaway or even steal the thunder away from Newton himself.

What in actuality happens when Miss Carlile starts to sing couldn’t be further removed from any of those preconceived notions. Talent and emotion can’t be production line manufactured: there’s an unquestionable truth when something’s good.

From the first lines, Brandi’s vocals are clear and tinged with altogether more emotion than one person should carry , the silence starts from the front of the stage and works its way to the back of the already filled academy, people noticeably drawn in by the song-a quick check-yes hairs on arms are standing up-this is very good.

By the time the song is ended there’s the smallest of pauses, as people seem to wish they had been listening from the offset, before breaking into applause.

And so the rest of this exceptional set continues, there are no lulls there are no bad songs; and then a Johnny Cash tune is pulled out-it would be almost impossible to pull this off and for many it appears a mistake, but it isn’t-coming across as both appreciative and respectful it fits like Brandi had wrote it herself – and played just a comfortably.

Then it truly changes-a cover of Buckley’s ‘Hallelujah’ proves to be the perfect zenith to an astonishing set, for most the upcoming album ’The story’ may very well prove to be both a breakthrough and an album of significant importance.

The stage is noticeably minimal when Newton makes his way on stage-he is the picture of the unassuming artist-which is difficult for someone with red dreadlocks-but it’s that uncomplicated, approachable, everyman vibe that Faulkner exudes.

There are no fanfares, no pyro or pomp, he simply starts playing-the reason there are no superfluities is the quality of the playing- the songs shine so brightly, that anything else would just be in the way.

If you were told there is no set and Newton is making it all up, it would be completely believable-such is the ‘sing-along at a pub’ relaxed atmosphere tonight.

Every touching moment or sublime piece of technical ability is countered with a moment of comedy-sometimes close to the surreal-short bursts of Two-unlimited and Dead or alive, next to a flawless rendition of Massive attacks ‘Teardrop’.

It is as though Newton is a frustrated comedian-every mistake is blown up and explored and even his newly acquired pedals get explained and berated -utilizing them to play the Mario theme.

It can be difficult to achieve any kind of intimacy in such a large venue, but with the key talents Faulkner has it all seems effortless-every song vocally aided almost fanatically by the crowd-like a happy Dashboard confessional gig.

‘Technically adept’ isn’t really a badge Newton wears or show off, but its one he deserves to have-the late Eric Roche helped move the percussive string hitting style Faulkner has forward, and Newton is doing an exceptional job of building on his teachers legacy-only for several songs do percussionists flank him and really just support rather than overbear-such is Newton’s ability to sound like several instruments.

The culmination of his style so far-and the pinnacle of the gig is a complete rendition of ‘Bohemian Rhapsody’-destined to be a my space regular it’s a perfect compliment to tonight’s songs.

Newton Faulkner could be resigned to the guy who plays novel acoustic arrangements of songs- indeed there are a group of people screaming ‘Sponge bob!’ throughout the entire gig- but he chooses not to, subsequently stopping himself from becoming predictable and a novelty act. Instead songs like ‘Gone in the morning’ & ‘Dream catch me’ will be what people hum as they leave the venue and what is truly the basis of Faulkner’s work.