Blair Jollands wears the coat of Woodstock Dylan ’67 with a low-key intimate performance, a band of Ghosts in tow. Bare feet Americana.
Atmosphere is family and relaxed, complete with rug rats. Kumeu Live is the boutique Westie venue run by Guy and Michelle Wishart, as intimate as a lounge inside an art gallery. Everyone is here to listen without distraction.
The Breaking has the rhythm and phrasing of the Band as they pulled into Nazareth in retreat at the Big Pink with Dylan.
Opening song Where Have You Been? throws out lines like light goes shining, Country Americana lament in the vein of Dylan’s I Shall Be Released.
Familiar like musical comfort food.
Jollands is a musical itinerant. From early experience working as a sound engineer at the famous Stebbings Recording Studios in Herne Bay, juxtaposed with gigs at inner city cafes long since gone.
He got to perform at CBGB’s in New York City. Once the money ran low at one musical mecca, he relocated to another one in London.
Worked the hospo industry which is a common rite of passage for young New Zealanders.
Serendipity and synchronicity meant he walked into employment as a sound designer.
One door opens and many others follow, in the zeitgeist and energy peculiar to that city.
Soundtrack engineering included working on Alien Vs Predator, Poldark.
Made music with Madonna. Praised by Bowie, and Boy George whose label released some of his albums.
Originally El Hula on recordings, reverting to his own name around the time of the viral insanity just prior to 2020.
The Ghosts are the imaginary band members reproduced from loop tracks and effect boxes when he plays solo.
Materialised tonight as Monica Vinoly on viola, Darryn Harkness drums (New Telepathics) and Dan Larsen bass.
Jollands sings more than a glimpse of your smile. The sounds of Blonde on Blonde and Vinoly plays gypsy tones like Scarlett Riviera. She’s mostly a classical musician but she does play the instrument John Cale did for the Velvet’s.
Music off latest album Little Comet is featured.
Wading in the Water is a eulogy. Folk but not a lament.
Wash Away is, with gospel and spiritual overtones on the studio version, reproduced here tonight.
Jollands has described himself as anti Folk. What that may mean is the slightly skewed approach of an Alex Chilton.
When The Devil Arrives at My Door, from Violent Love album, he sounds like a Folkie with a slightly lagged delivery. Like the young Chilton on I Must Be the Devil.
Can’t set fire to a Burning Man. A Folk Blues that creeps with bass malevolence as the crash cymbals stamp their authority at the end.
On some songs Jolland phrases like the Handsome Family. Nice harmonica solo to start Restless Soul
Their last encore is dirty Rockabilly and the most raucous of the evening. As if Panther Burns and Chilton are letting loose in a jook joint after a train riff intro.
This is Rock’n’Roll kids! Meant for everyone in the room, I suspect.
Blair Jollands started with a lot of Dylan and the Band, which was gratifying. Then he explored and wandered around in expansive fashion and dialled up the intensity. New Zealand’s own idiosyncratic Americana odd ball.
Rev. Orange Peel
