Live Review: Rodriguez, Jen Cloher

Launching this evening’s entertainment, a very relaxed Jen Cloher treats early arrivals to a short but intimate set. 

Going it solo with just the gentle strum of an acoustic guitar is an approach that adds a delicate, almost-folk dimension to Cloher’s songs, which are usually presented with more driving rock arrangements from her band.  Cloher takes the time to explain the inspiration behind tunes like Kamikaze Origami and Mother’s Desk. Cloher strikes a chord with the crowd who cheer loudly as her set comes to an end.

The rather grand surrounds of the Palais Theatre heave under the strain of the huge number of people shoehorned into tonight’s sold out show. Those, mainly baby boomers, looking for the Sugar Man were ecstatic as a rather fragile looking 72-year-old Rodriguez was helped onto the stage – he reportedly suffers from glaucoma.  Rodriguez is assisted by three local players who respectfully provide polished accompaniment for the fabled rocker.

Dressed in black and wearing what could be one of Slash’s top hats, Rodriguez cuts a striking figure as he treats fans to a set of tunes featured on the two albums he released over 40 years ago.  The show kicks off with the heavy psychedelic sounds of Climb Up On My Music while Crucify Your Mind illustrates why the social consciousness Rodriguez espouses had often brought him comparisons to Dylan. Rodriguez maintains a cool and aloof presence and barely says anything to excited fans but as I Wonder elicits rapturous applause from the crowd he rather humorously tells us that “although he does wonder he doesn’t particularly want to know”.

Despite his frail appearance, after all these years Rodriguez’ voice remains intact and he sounds pretty much exactly like he does on his records. While tracks like The Establishment Blues, Sugar Man, Inner City Blues and Street Boy absolutely delight the set is peppered with surprisingly schmaltzy covers that range from Nina Simone’s jazzy Love Me Or Leave Me, Carl Perkins’ Blue Suede Shoes and Little Richard’s Lucille. Rodriguez’s music transports us back to the streets of Detroit in the early ‘70s when life seemed grittier – he so easily captured the turbulent mood of the protest era. 

Forget It is a parting shot ahead of encores that brings fans to their feet. Returning to the sound of thunderous applause, Rodriguez gives us Little Willie John’s much-covered Fever and Sinatra’s defiant and powerful I’m Gonna Live Till I Die, which provides an entirely appropriate end to tonight’s show.