Mitch James concluded a marathon seventy-seven dates tour of bright Indie Folk Pop with a triumphant hometown closer at the Powerstation.
Mitchell Mitch James may have a destiny writ large in the world of Popular music as his name reflects the drummer and guitarist of the most influential power trio in history. James Jimi Hendrix and Mitch Mitchell. That’s how alchemy works.
He’s a local lad who has had a meteoric rise in the increasingly difficult and fraught world of commercial music. Typically, he learnt his craft off media platforms like YouTube. Spent time in the UK and Europe to seek his fortune, which did lead to industry attention and a contract with Sony. Which indicates the level of talent present along with the necessary hard edge and work ethic to rise above.
He has opened for Ed Sheeran, who he admires greatly. Clearly James is of a similar style.
I saw him open for Six60 in their record-breaking second massive Western Springs show in 2020. He was impressive, with a three-piece band behind him.
That band has had an important role in mentoring James. Members Ji Fraser and Eli Paewai produced his debut album in 2018. It has since been certified platinum in New Zealand.
Bright, hook-laden Pop of this millennium might be the new Bubble Gum music of its time. Critically dismissed and devalued by those who feel lacks some authenticity (which they can’t really define). That misses the point of its sophistication.
What looks or sounds simple is notoriously difficult to achieve. But if it feels good, it must be good said Ernest Hemingway.
There is a certain laddish macho charm to James’s music, even as he sings of relationships and sensitivity. And plays an acoustic rather than electric guitar.
Accompanying him tonight is Jamie Parker of Manchester, playing keyboards.
Opening song is Move On from the self-titled debut album. He carries the air of a seasoned stage veteran. The energy is immediate. Sings with high emotional charge and the falsetto is on display early.
He acknowledges co-writer Emily Warren on All the Ways to Say Goodbye. Folk pop with an added element of passion done live. He resembles Robbie Williams at times.
Follows that with an unreleased song which literally flies. Days when we raged/ We flew off the page. The title might be Cover Me Up.
A large part of his repertoire are pop ravers like Stuck in Denial. They say that life is pain/ Don’t try to run away is how it begins. Older heads like me will remember Joan Jett and Love is Pain.
He takes the time to sing a slower ballad dedicated to his mother, another new one which might be titled Mama and Me. A telling lyric, Is this your son? / Do you know what he’s done?
Though it is predominantly a young and raucous audience, it does have a family atmosphere. Like a garage party in the provinces with an All-Black test match in the background. Which there was, down the road tonight.
Tazman Jack
First of two young supports is Tazman-Jack Nesbit, a singer-songwriter from Dargaville in the Far North.
Performing solo and playing electric guitar. He has a pleasant Pop Soul voice.
On one called Deeper, he adds some melodic Jazz guitar licks which is reminiscent of George Benson, again with that soft Soul vocal style.
His bio says he’s influenced by Stevie Ray Vaughn and Eric Clapton. But he’s keeping the guitar flourishes to a minimum tonight.
Maybe his best tonight is a new one possibly called Keep It Burning, where hooks abound with the arrangement kept spare and tight.
Spencer Coyle
Spencer Coyle is just nineteen years old but has a confident stage manner that suggests a more seasoned performer.
He is from Auckland, and he has also come under the mentorship of Six60 bandmembers recently. That can only bode well for him.
Of his two singles available, Somebody to Love was co-written with Ji Fraser. Sings in a charged emotional Folk Pop manner.
On a song called Iris, his vocals clearly has some influence from Ed Sheeran. Who he has name checked as an inspiration.
He has a handle on blue-eyed Soul. Castaway was produced in collaboration with Drax Project. He handles it with aplomb, with a big voice and just his acoustic guitar.
Mitch James
He does a great version of Irish band Kodaline’s All I Want. He warns the audience that it is a depressing song, but it is hardly that. Ringing vocals and a great falsetto again.
Another unreleased song is Beautiful Stranger, written around a magic mushroom relationship. In the dark I’ve always known you is fuelled by fungi and is about a fun girl.
His fans probably know this well, but he does hint at a hedonistic lifestyle with the trappings of music industry success. With that in mind, I have no idea where the tradition of a shoey on stage comes from. Probably two dozen shoes are tossed onto the stage.
James then inveigles his keyboard player to participate, as they pick one each and drink a beer out of it.
But he does take the time to put on a Warriors jersey and yell Its Our Year! That would explain it. One day someone will throw a gumboot and he may have to attempt a Yard Boot.
Immediately following that he smashes out a great version of his own Sunday Morning. The closing song and he draws it out. Ends with some of the Pop Punk sound of the Monkees’ Stepping Stone.
Mitch James is revelling in the moment. The seventy-seventh show, even as his mates are yelling out sixty-nine! So, he gets everyone to shut up whilst he comes to the front of stage, leaves the mike behind to sing an Irish blessing. Good night and joy be with you all.
Rev Orange Peel
Photos by Leonie Moreland
Mitch James
Spencer Coyle
Tazman Jack
