J. Tillman Live Performance Review

posted in: Music News • Rock

Sunday evenings have always held a special place in my heart” a time to relax, a time to reflect, a time to look forward. When Sunday evenings are spent enjoying live music in the company of strangers, the weekly occurrence gains an entirely new level of satisfaction. I was fortunate enough to spend this most recent Sunday night enjoying the authentic folk sounds of J. Tillman. Most widely known as the drummer for folk rock quintet Fleet Foxes, J.Tillman has a surprisingly extensive solo catalog under his belt, having released 7 albums in the past 5 years.

The scene was exactly what you would expect ”one hundred or so hands-in-pockets wallflowers standing idly in a comfortably sized room, every single one of them gazing in awe of the minimally groomed wordsmith wrapping poetically bound stories of enlightenment and regret through the rafters. Not surprisingly, conversation amongst cohorts was nonexistent, and even breathing seemed to be calculated to avoid tarnishing the trance like spell Tillman had cast upon the audience. Methodical, wise and visibly convectional, Tillman’s vocal delivery validates his status as a folk purist. With eyelids remaining shut for the majority of the set, any onlooker can tell that Tillman’s creations come from deep within, and are designed to be enjoyed privately in order to attain the utmost sense of nostalgia and resolve. Sonically, the inconstant forms and occasional falsetto remind this writer of Jeff Buckley during his more musically skeletal compositions.

Instrumentally, the night was magnificently low-fi”consisting of lead guitar, rhythm guitar, slide guitar, bass, drums and the occasional dissonant recorder/ gong (glorified cymbal) / tambourine / handclaps/ and even car keys. The ensemble was in place merely to support Tillman’s storytelling at times, and” in other scenarios ”was there to threaten noise-induced hearing loss. Few times in my life have I witnessed an artist physically contorting with the rhythmic pulse in every beat to the extent that J. did, and it wasn’t before long that the other musicians on stage had caught the same infection. In multiple occasions throughout the set, songs that began in the standard folk vein reached levels of a full blown rock song near their climax, replete with deliberate electronic feedback, chaotic percussion, and a hair-tossing, headbanging front man. He even converted an ordinary ride cymbal into a makeshift gong, hanging it from a mic stand and pounding it with ear shattering devotion while rolling around on the ground.

Lyrically, Tillman paints history through anecdotes and fables. With poetic output the likes of Don’t want to live again / because I don’t want this life to end and begging for surrender as the black sky swelled with fire he emits an omniscient perspective and universal imagery that benefits both audience and subject matter. One highlight of the night was the chilling There Is No Good In Me. Beginning as the description of a cold-hearted narrator possessing a taste for blood, and having rendered families from their homes the piece evolves into an uplifting thaw of a frigid heart though we are left unconvinced of the outcome. Performed live, this song disintegrated into a distorted collection of driving rhythms, leaving the audience member to believe that this song isn’t so uplifting after all. The most soothing segment of the night was J.’s solo encore, Year in The Kingdom, the title track off his new release. This song conveys an angle of remembrance of a Kingdom once enjoyed but since forgotten, I spent a year in the Kingdom / On my way / On my way through the garden ¦ I’d give back every night but some / every lay in the dawn / I’d give back my singing voice / for one more day / one more day in the Kingdom. Fraught with longing, this tune is poised to remind folks in all stages of life to appreciate and make the most of whatever time they have left.

The stage banter between Tillman and friends was brief, but charming nonetheless. Whether declaring that his heart would explode if there was any more love in the room, or acknowledging the goofiness of using car keys as an instrument through a sheepish smile, Tillman’s quiet yet noticeable charisma undoubtedly contributed to the lasting bond between artist and fan, and incredible speed at which time flew by. Before I knew it, the one hundred minute set had suddenly dissolved into a meet and greet in the corner.

Perhaps the best part about Tillman’s pieces is that they’re not restricted to any demographics. Whether resounding through the enchanted coastal forests of Tillman’s native northwest, or echoing through the serene Midwestern heartland, his songs just seem to fall into place with the American garden landscape. After all, you have to go exploring in the garden to find the Kingdom.

Tillman’s tour has plenty more dates, check them out here to see if he’s coming to a venue near you!