Ed SheeranEveryone already knows Ed Sheeran is a savvy cat, but having a free photo opp set-up where you can get your photo taken with an image of the singer-songwriter holding his guitar, and have it tweeted/emailed to you, is fanbase stroking/social networking genius.
As is getting fans waiting in the queue for said photo opp to sign up to his mailing list with an option to also receive info about the first signing to Gingerbread, Sheeran’s record label/tonight’s support: Jamie Lawson.
But first up is local lad Conrad Sewell “chasing dreams around the world”, according to his Facebook page, accompanied by a keys player. He wedges segments of classic songs such as Michael Jackson’s PYT (Pretty Young Thing) and Marvin Gaye’s What’s Going On into the middle of his own, which lessens the impact of original material. And those pants are completely unflattering. Can’t fault that voice, though (except when he hits a bum note in his closing song).
Jamie Lawson is charming and his gentle acoustic ballads wouldn’t sound out of place on the Once soundtrack; he sounds more Irish when he sings than when he speaks. “This is a song about someone you loved so much that you killed ‘em” – this darkly themed song should be his break-out single. He breaks a string while performing his actual single, Wasn’t Expecting That (badum tish!), which seems to rattle him. Already, a couple of wilting punters are lifted from the crammed GA section into the safety of the photography pit. Who would’ve thunk you’d need a D-barrier for Ed Sheeran’s one-man acoustic tour?
Early into his set, Sheeran compares his previous Australian tours to Blackpool on a Saturday night when it’s also New Year’s Eve. He recommends, “Everyone gives as little fucks as possible,” tonight as long as no one gets hurt. Sheeran gets that he’s one lucky, unconventional artist (“‘Cause I’m a singer that you never wanna see shirtless”), which is a great deal of his appeal. Take It Back sees Sheeran rapping impressively; it’s almost his version of Eminem’s Lose Yourself (from 8 Mile). Sheeran orchestrates impressive live loop mash-ups when his take on Stevie Wonder’s Superstition intersperses with a version of Ain’t No Sunshine by Bill Withers.
Pic by Geoffrey D'unienville
During Bloodstream Sheeran demands our arms, initiating a one-arm ‘bounce’ (as if we’re at a hip hop gig) or clapping on command. Rapidfire tapping on the body of his guitar then equally fast strumming make for a stunning finish to this standout track. Sheeran asks for silence while he performs one song, but attention-seeking punters use this opportunity to holler out individually. He stops, insists we be quiet for this song only and then starts Give Me Love afresh. We score Sheeran’s Strictly Come Dancing (that’s what Dancing With The Stars is called in the UK) audition video (aka Thinking Out Loud) on the screens to accompany his performance of that song. Man, does Sheeran have some ugly tats! Is that the outline of a copulating couple on the forearm of his strumming arm? The singer-songwriter explains he played to about 30 people in a rehearsal studio four years ago when he first performed in this country and then commends us for latching onto him and appreciating his music so quickly after it took so long for him to make a name for himself in his homeland. Sheeran then plays the first song he released in Australia, The A Team. A few kids seated in the tiers wave single foolscap sheets of paper with sentiments such as “Love Me” scrawled on them; as if Sheeran would be able to read that even if he were Steve Austin!
Sheeran does the lame “this is supposed to be the last song” faux encore when we haven’t yet heard Sing. Returning after leaving the stage for less than a minute, Sheeran teases us with another song (during which he breaks a string and takes some time to attract a roadie’s attention for a replacement), before closing with his Pharrell Williams co-write. We’re on our feet, “Whoa”ing and bopping away, when the appealing little ginger hobbit disappears unannounced. Houselights up. And it’s all over way too soon despite a generous set length.
