From: owner-navy-soup-digest@smoe.org (navy-soup-digest) To: navy-soup-digest@smoe.org Subject: navy-soup-digest V8 #10 Reply-To: navy-soup@smoe.org Sender: owner-navy-soup-digest@smoe.org Errors-To: owner-navy-soup-digest@smoe.org Precedence: bulk navy-soup-digest Tuesday, February 22 2005 Volume 08 : Number 010 In This Digest: ----------------- chart attack live review [jeff albertson ] ---------------------------------------------------------------------- Date: Mon, 21 Feb 2005 21:34:56 -0500 From: jeff albertson Subject: chart attack live review LIVE: Sarah Slean Grabs Audience And Won.t Let Go Monday February 21, 2005 @ 04:00 PM By: ChartAttack.com Staff The Mod Club February 17, 2005 Toronto, Ontario by John Teshima Watching Sarah Slean strut and vamp around the stage, it is hard to believe that she was once an unassuming singer-songwriter who shyly warbled away at the keyboard. Now she is a self-assured and engagingly melodramatic performer, who appears just as comfortable stalking around with a mic as she does pounding her keyboard. After strong opening sets by guitar-slinging songwriter Jeremy Fisher and cellist Jorane, Slean had a lot to live up to. And she proved up to the task, opening with an aggressive "Lucky Me" and a bouncy "Day One," both from her latest release. With this quick one-two punch, Slean established a confident hold on her audience and never let go. Much of the concert showcased last fall.s release Day One, ranging from pummeling versions of "Pilgrim" and "The Score" to more subtle and atmospheric takes on "California" and "Wake Up." With only a three-piece band to back her up, Slean had to forsake some of the intricacy and complexity of her studio arrangements. But she more than made up for these deficits with the sheer power and energy of her performances, slamming any would-be doubters into submission. Older material also benefited from this full-throttle assault. "Eliot" and "Drastic Measures" were given even heavier treatments than on her last tour. A guitar-dominated arrangement breathed new life into the previously piano-embellished "Duncan". Even the poppier "Sweet Ones" and "Bank Accounts" bristled with newfound intensity. Given all this rocking out, when Slean settled behind her keyboard for a couple of solo numbers, the contrast couldn.t have been starker. Riveting versions of "Count Me Out" and "Blue Parade" reminded the audience that she could still do the delicate-girl-at-the-piano thing with the best of them. With all of these strengths, there were nonetheless a few weak moments. During the instrumental sections where Slean was away from her keyboard, she seemed awkward and out-of-place, undulating somewhat aimlessly to the music. And her band, while sonically providing adequate fire throughout, looked half-asleep at a few points. Only her drummer seemed to be 100 per cent into the proceedings, attacking his kit with fervour and providing some tight (and impressively high-pitched) vocal harmonies. But these lapses were relatively few and far between. Otherwise Slean and her band delivered a charismatic and masterful performance. ------------------------------ End of navy-soup-digest V8 #10 ******************************