Years ago an acting teacher related a story about a great actor that she worked with once during summer stock season. She admitted that working with said actor was great because she had learned so much from him in rehearsal, but that during performances, because he knew the material so well, night after night, he seemed to just “check out“. By “checking out” she meant he wasn’t acting in the moment. This practice mystified me at the time. As a student I couldn’t understand why an artist would want to just “check out” for a performance. To me that was the part of the work that was the most rewarding. Being in the moment was what all artists crave isn’t it?
I have kept the notion of an artist “checking out” when seeing artist perform live. For some it literally is like coming on stage and pressing the “cruise control” button and going through the motions. On the surface it seems fine, but on closer inspection it is actually like faking an orgasm.
Then there are artists like Raul Midon, who’s performances are beyond, the norm and reach almost otherworldly qualities.
The venue in Toronto was the Enwave Theatre, formally the Harbourfront Theatre, known primarily for staging plays, and dance. I was aware that the acoustics for the show were going to be great at this theatre on the Toronto waterfront.
Opening for Raul was New York jazz and folk artist, Morley. I had never heard of her before but she seemed to be the perfect opener for Raul. With her early Joni Mitchell like pitch, gospel inflections, and jazzy tinged songs, this gracious artist managed to bring colour to the darkest areas of the theatre. Her mellow singing and acoustic guitar playing was perfectly suited for the intimate atmosphere. She sang songs of quiet protest and upliftment that were moving. I was impressed with the way her rich voice, seemed to lift the audience and captivate them.
And then came Raul…
An explosion of applause met Raul, sightless since an infant, as he was guided to the stage by an attendant. It was just Raul, a guitar, and the audience. To me the solo acoustic show is the biggest litmus test for any artist. It’s interesting to see if they can be as engaging on their own without a complete band behind them. It doesn’t get anymore naked than that.
Raul opened with “Pick Somebody Up” from his new album “World Within A World”. From the moment that he stood on that stage Midon’s voice, and presence was felt in every pore in my body. His guitar playing ran from flamenco, jazz, folk and funk. He is literally a one man band. Sounding flug horns with his mouth, and beating out percussion and bass lines on the body of his guitar, Midon was able to create complex melodies, and round notes with ease.
Full of humour, he took time to further connect with the audience with antidotes about sessions with Bill Withers, the difficulties of learning Me’ shell Ndegeocello’s wicked bass line in one of his songs, and the difficulties that he too faces in a world that seems to be driving people crazy.
His new material is no less relevant than his earlier work. When he took a turn at the older, his improvisations made them fresh and current. Especially, the fiery version of Sunshine (I Can Fly). It was tremendous.
Notes just hung in the air of the theatre. Ripe with vibrancy, and brilliance. Many times the audience seemed to sit still, just letting the richness of the sound wash over them. It was an appropriate reaction when an audience member cried out “ Ooooohh, Raul…..You make us feel sooooooo good”.
One of the wonderful things about Midon’s music is that he refuses to accept the popular thinking that there is no hope in the world today. His songs are teeming with positivity, love, and more importantly hope. Where there is life there is hope. There isn’t anything cliché a about this belief. To me it’s an act of passive resistance. Show love where there lacks love. Help when you feel helpless. Keep climbing even when you can’t see the top of the mountain.
The beauty of seeing an artist who has checked in for a performance is that the audience can experience creativity in it’s purest form, a boundless energy that envelopes them for only a short moment, yet connects everyone in that room. Raul ended the concert with a song called “Peace On Earth” and in that theatre I believed that is exactly what I was feeling.
I have kept the notion of an artist “checking out” when seeing artist perform live. For some it literally is like coming on stage and pressing the “cruise control” button and going through the motions. On the surface it seems fine, but on closer inspection it is actually like faking an orgasm.
Then there are artists like Raul Midon, who’s performances are beyond, the norm and reach almost otherworldly qualities.
The venue in Toronto was the Enwave Theatre, formally the Harbourfront Theatre, known primarily for staging plays, and dance. I was aware that the acoustics for the show were going to be great at this theatre on the Toronto waterfront.
Opening for Raul was New York jazz and folk artist, Morley. I had never heard of her before but she seemed to be the perfect opener for Raul. With her early Joni Mitchell like pitch, gospel inflections, and jazzy tinged songs, this gracious artist managed to bring colour to the darkest areas of the theatre. Her mellow singing and acoustic guitar playing was perfectly suited for the intimate atmosphere. She sang songs of quiet protest and upliftment that were moving. I was impressed with the way her rich voice, seemed to lift the audience and captivate them.
And then came Raul…
An explosion of applause met Raul, sightless since an infant, as he was guided to the stage by an attendant. It was just Raul, a guitar, and the audience. To me the solo acoustic show is the biggest litmus test for any artist. It’s interesting to see if they can be as engaging on their own without a complete band behind them. It doesn’t get anymore naked than that.
Raul opened with “Pick Somebody Up” from his new album “World Within A World”. From the moment that he stood on that stage Midon’s voice, and presence was felt in every pore in my body. His guitar playing ran from flamenco, jazz, folk and funk. He is literally a one man band. Sounding flug horns with his mouth, and beating out percussion and bass lines on the body of his guitar, Midon was able to create complex melodies, and round notes with ease.
Full of humour, he took time to further connect with the audience with antidotes about sessions with Bill Withers, the difficulties of learning Me’ shell Ndegeocello’s wicked bass line in one of his songs, and the difficulties that he too faces in a world that seems to be driving people crazy.
His new material is no less relevant than his earlier work. When he took a turn at the older, his improvisations made them fresh and current. Especially, the fiery version of Sunshine (I Can Fly). It was tremendous.
Notes just hung in the air of the theatre. Ripe with vibrancy, and brilliance. Many times the audience seemed to sit still, just letting the richness of the sound wash over them. It was an appropriate reaction when an audience member cried out “ Ooooohh, Raul…..You make us feel sooooooo good”.
One of the wonderful things about Midon’s music is that he refuses to accept the popular thinking that there is no hope in the world today. His songs are teeming with positivity, love, and more importantly hope. Where there is life there is hope. There isn’t anything cliché a about this belief. To me it’s an act of passive resistance. Show love where there lacks love. Help when you feel helpless. Keep climbing even when you can’t see the top of the mountain.
The beauty of seeing an artist who has checked in for a performance is that the audience can experience creativity in it’s purest form, a boundless energy that envelopes them for only a short moment, yet connects everyone in that room. Raul ended the concert with a song called “Peace On Earth” and in that theatre I believed that is exactly what I was feeling.
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