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Monday, Jul 07, 2008
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Wainwright keeps it simple and sweet, a hit at the Paramount |
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| Wainwright keeps it simple and sweet, a hit at the Paramount | |
| by Albert Rodriguez -
SGN A&E Writer RUFUS WAINWRIGHT MARCH 13 PARAMOUNT THEATRE Rufus Wainwright was in an acoustic state of mind when he performed to a near sold out audience last week at the Paramount Theatre. A night after playing a show in Hollywood attended by A-list lovebirds Jake Gyllenhaal and Reese Witherspoon, the theatrical pop star strode comfortably onstage just after 8:00 and sat himself in front of a baby grand piano with no backup band or vocalists. So stripped-down was this concert that Wainwright could've easily been confused for a stagehand dressed quite casually in jeans, clogs, and a snowflake-detailed winter sweater. Wainwright commenced his almost 90-minute set with "Grey Gardens," a track off 2002's Poses album. Tilting his head from shoulder to shoulder, hinting early on that a sassy and spirited Rufus Wainwright had come to the Paramount instead of a sometimes-moody one, the musician glided effortlessly into the next song, the lush "This Love Affair" from Want Two - the second half of his sliced Want project initially intended to be a double-disc CD. Midway through "Vibrate," Wainwright missed a note and made an abrupt stop. Finding the right pitch, he coolly restarted it with a smile. Rarely performed and overwhelmingly received was "In My Arms," a ballad included in his self-titled debut, which saw the singer-songwriter switch instruments to a glittery red-strapped guitar. Acknowledging the grand beauty of the Paramount Theatre, Wainwright waltzed down memory lane, remembering his first-ever Seattle appearance at the Crocodile Café - a show in May 2001 that I'll never forget because, similar to this one, it was simple and delightful and full of zest. "California" was perhaps the lone number needing a background boost; even Wainwright struggled to give the tune some perk during its bridge. The complete opposite was "Going to a Town," a boldly written yet delicately delivered piece that worked just fine with solely a piano. In the second verse, Wainwright kicked off his clogs and told the crowd he wore them to "relate to you people." "Little Sister" was dedicated to Wainwright's siblings Martha, Lucy and Lexi. "Gay Messiah" was introduced as a song that helped protest the Bush administration's anti-Gay marriage propaganda and was later used as a form of prayer therapy amidst a conservative political environment. Before the opening chords Wainwright joked, "So, it's upbeat." An obsession turned friendship was the theme of "Zebulon," a time-honored crush from Wainwright's high school days in Montreal. The main set concluded with a popular favorite, the zippy "Cigarettes and Chocolate Milk." Wainwright waved goodbye to a house on its feet and clapping enthusiastically. They clearly wanted more, and within minutes they got just that. A two-song encore included another crush-inspired number, "The Art Teacher." From his Want One recording, Wainwright made his final exit with "Dinner at Eight." Notably absent on this evening was anything from Wainwright's stage-to-CD and DVD tributes to Judy Garland, a show he's never brought to Seattle despite playing here four times in a 12-month span. Not even a tease of "Over the Rainbow" was thrown in, sadly. As for the set list, the usual expects were all included but a personal favorite, "The One You Love," was missing in action. My only complaint - and it's a minor one - is that Wainwright appeared underdressed for this concert. Always stylish and never shy of stripes, ruffles, eye-popping colors, and form-fitted suits, the openly Gay artist looked more costumed to be curled up next to a fireplace with a cup of hot cocoa in hand - a definite lack of shimmy on a night he performed to over 3000 fans in a gorgeous landmark venue. An intimate experience in a not-so-intimate space - at least in comparison to The Triple Door where Wainwright dazzled followers last year - this was a show that proved performances minus stage props, projection screens, screeching guitars, whistling keyboards and six-piece orchestras can be as entertaining as those with. If not better. |
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