Sufjan Stevens, with DM Stith
November 9 at The National
I had always been on the fence regarding Sufjan Stevens. I saw immense potential in his back catalog, particularly Illinois. Yet I still found shortcomings in his work that made it difficult for me to completely embrace his musical stylings. This all changed after my experience witnessing the way Sufjan Stevens presents his music in a live atmosphere.
Sufjan Stevens, with DM Stith
November 9 at The National
I had always been on the fence regarding Sufjan Stevens. I saw immense potential in his back catalog, particularly Illinois. Yet I still found shortcomings in his work that made it difficult for me to completely embrace his musical stylings. This all changed after my experience witnessing the way Sufjan Stevens presents his music in a live atmosphere.
Although the set wasn’t entirely memorable, it should be noted that DM Stith’s set offered itself as a perfect opening set. It lasted all of twenty minutes, and the artist was aware of the audience’s anticipation for the headlining band. While he shared clever anecdotes and displayed an exciting prowess with looping vocal bits, I found myself more compelled by the stage setup behind him. There were two drum kits, keyboards everywhere and a huge screen that dominated the background of the stage. What could possibly be in store for Richmond, Virginia on this Tuesday evening?
As Sufjan Stevens and his band came on stage dressed in costumes, red and blue lights filled the stage. Stevens’s voice and lyrics engaged the audience as he sang the opening soliloquy of “Seven Swans” with a set of angel wings hanging off his shoulders. As soon as a momentary bridge arrived, the extremities uncovered on his new record The Age of Adz revealed themselves in his reinterpretations of older material.
There were costume changes. There were wonderful projections that coordinated flawlessly with the set. The audience was completely entranced with the show, so that during the quieter moments you could still retain your focus. Everything was remarkable.
Whether it was Stevens wearing a glowing headset with neon lights or a t-shirt, the back of which read “Be Mine,” there was no way to deny his presence as a performer and entertainer. He had a very comfortable rapport with the audience and, from the feel of his stage show, he wouldn’t be satisfied without giving everyone a performance that could only be described as unforgettable.
Perhaps the reason Sufjan Stevens now appeals to me is my reaction to his new album, The Age of Adz. On this record, he sheds all expectations and leaves the banjos behind. I am a fan of Americana, and I do believe Stevens accomplished phenomenal feats with his foray into that genre. However, there is something about the experimental nature of this new album and the risks taken that I can’t help but admire. He not only created an album that challenges his longtime fans, but also created an album that exists as a reaction to the current state of listening to music. In a recent interview, he commented on how, given the MP3 culture, you are unable to truly take in an album as a whole any longer. How does one defeat this notion and continue to flourish as a creative artist? I think that is answered by The Age of Adz. I would find it impossible to simply dissect an album like this and still receive the intended impact. It deserves multiple listens, and it requires your complete attention. Whether it’s the title track or the twenty-five minute long finale, “Impossible Soul,” each song serves a greater purpose in regard to the album as a whole.
As Stevens and his band played songs taken from this recent album, I was flabbergasted. There was a level of intensity I wasn’t prepared for. I have seen several bands that I hold incredibly dear to my musical palate, but I wasn’t certain that I could describe seeing them live as something that evoked excitement. This was the case, though, with Sufjan Stevens. This show was unlike anything I’ve ever seen, with the high level of attention placed towards developing a complete performance that engaged the audience visually and aurally.
It felt fitting that after the triumphant performance of “Impossible Soul,” Stevens would decide to finish with material off of Illinois. In this instance, it offered itself as an intriguing juxtaposition. During the material off of The Age of Adz, the stage was full of neon lights, glowing face paint, post-apocalyptic costumes, and the work of artist Royal Robertson. When focusing on Illinois, the highlights were the songs themselves, and it was a moment to reflect on a time that could feel like an eternity ago. So much time has passed since the release of that much beloved record, and the audience’s patience with and concentration on Stevens’ newer material was rewarded with the inclusion of these tunes.
The night came to a tremendous end as Stevens finished his set with “John Wayne Gacy, Jr.” It seemed as if everybody was reeling from the cataclysm of events that occurred in front of our very eyes. I can’t help but take seeing Sufjan Stevens live as a means of re-imagining the possibilities of what a live performance can be. Whether you are a fan or not, I must highly recommend catching Mr. Stevens when he drops by again. It’s totally worth it.
