Review: Joanna Newsom, Colston Hall

Joanna Newsom turns away from her grand piano on the stage of the Colston Hall to more rapturous applause, lifts her upturned hands and shrugs her tiny shoulders. “Sometimes you just play the right chords, sometimes you just play the wrong chords,” she says, most people bemused or unaware of a rare mistake.

Her sell-out gig at Colston Hall – on just the third day into her new Divers album world tour – may require a lot of her and her three bandmates who switch instruments multiple times during each song, but it is pretty fine-tuned and (almost) faultless.

Some might say it’s more of a recital than a traditional live music event, with little or no deviation from the plan and absolutely no improvisation.

Either way, it’s a thing of beauty, devised and delivered by the lauded Californian singer, harpist, pianist, composer, songwriter – and now actress – whose new album has only had a week to settle in since its release.

Following gigs in Manchester and Brighton it is only a third outing for some of the material, which makes up the bulk of the concert. After a five-year break, which included an acting and narrating role in Inherent Vice, her fourth album in 11 years was received with critical acclaim – a triumphant return for the darling of modern American folk music.

In Bristol, Newsom begins with Bridges and Balloons – a favourite from her first album, The Milk-Eyed Mender, and one of just three bits of old material she performs among 13 songs – her fingers sweeping and dancing up and down the giant harp dwarfing her in the centre of the stage.

“We haven’t played together for a couple of years,” she smiles after her hands fall and the crowd breaks its perfect pin-drop silence. “It’s been pretty fun so far,” she adds, of her first days back on tour.

She switches to the grand piano for Anecdotes, the opening track from her new album and then switches back to the harp again mid-song as her backing musicians pick up and put down violins, violas, guitars, banjos, drum sticks, recorders and some unrecognisable instruments.

You’d think it would be frantic up there on stage, but it’s not. Each change is made with an easy calmness with all eyes on Newsom as she walks slowly from piano to harp and back again.

The crowd responds with very little more than perfect, devoted attention and polite clapping between songs. Midway through the main set Newsom dips back into popular old material with 12-minute epic Emily and, it’s fair to say, the odd “whoop” escapes from some of the audience as they respond to the first few recognisable chords. The song is given a slightly heavier backing than the studio version, and it’s welcome departure from the gentle flow of the gig.

Slipping back into new material, little-known Leaving the City, follows in a similar vein. Heavy drums and more frantic arrangements here make up one of the highlights of the show – and, in fact, her new work, which is at its best when breaking away from the tried and tested – and sometimes slightly tired – old style.

Goose Eggs also stands out towards the end of the set before Newsom finishes with Cosmia from second album Ys.

The encore is split between a solo version of new track A Pin-Light Bent and a full-band version of Peach, Plum, Pear, from her first album. There’s not a misplaced chord on the stage and the crowd are brought to their feet for a standing ovation as Newsom timidly takes it all in a makes her way off stage. 

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