Review: Rufus Wainwright

Rufus Wainwright's loyal fans in Kansas City might have reasonably wondered which version of the acclaimed artist would appear Sunday at The Midland Theater. Would they see the uninhibited rock musician who oversaw a raucous extravaganza at the VooDoo Lounge in 2007? Or would the brooding man who performed a subdued concert last year at the Uptown Theater make a return appearance?

The answer, happily, was neither. The artistically restless and endlessly creative Wainwright revealed new dimensions of his complex persona Sunday.

The first portion of the concert consisted of the complete song cycle of All Days Are Nights: Songs For Lulu, Wainwright's new album. At times resembling a solo music recital set in a gallery of contemporary art, the piece offered the audience of approximately 400 a unique experience.

Images of human eyes loomed over the stage as Wainwright performed his ambitious art songs. Divorced from their bodies, the eyes resembled odd aquatic animals and exotic Venus flytraps. The strangely beautiful visuals complemented the dense music. It's unlikely that any of the demanding material will become a permanent fixture of Wainwright's performance repertoire, but most selections were effective.

Wainwright's tremulous voice seemed to shiver with loneliness during "Sad With What I Have" and a musical rendition of William Shakespeare's Sonnet 43 was gorgeous. Only "The Dream," one of the loudest and most deliberately dramatic selections, seemed cloying.

The audience had been advised to remain silent during the entirety of Wainwright's first set. Only after Wainwright- wearing what appeared to be a black funereal gown- slowly marched off stage did they applaud. In less capable hands, the concept might have seemed like the height of pretentiousness. Yet Wainwright pulled it off with aplomb.

"I have to say you guys have been the best audience I've had for the first part of the show," Wainwright remarked after a brief intermission. "You got it instantly."

The tone of the concert's second portion was quite different. On the newly candle-strewn stage, Wainwright shared charming anecdotal stories and silly thoughts between pleasing renditions of his most familiar material. Lucy Wainwright Roche- who was charming in her opening set of folk material- assisted her brother on his popular reading of Leonard Cohen's "Hallelujah". Her presence relieved some of the song's unwelcome overfamiliarity.

Given his tremendous musicality, Wainwright could very likely dominate the pop charts if he so desired. He's opted for high art instead. It's telling, consequently, that the evening's sole lump-in-the-throat moment came during a song written by his mother about her courtship of his father.

"My mother was one of the great songwriters of her era," Wainwright said of the late Kate McGarrigle.

"We'll talk blood and how we were bred," Wainwright sang. "We'll talk about the folks both living and dead."

First set: Who Are You New York?; Sad With What I Have; Martha; Give Me What I Want and Give It To Me Now; True Loves; Sonnet 43; Sonnet 20; Sonnet 10; The Dream; What Would I Ever Do WIth a Rose?: Les Feux D'Artifice T'Appellent.

Second set: Beauty Mark; Grey Gardens; This Love Affair; Matinee Idol; Memphis Skyline; The Art Teacher; Nuits de Miami; Complainte de la Butte; Hallelujah; Little Sister; Dinner at Eight; Cigarettes and Chocolate Milk; Poses; Going to a Town; Walking Song.

| Bill Brownlee, Special to The Star

Comments

[Bee Wilderbeast]

who? wtf?

the artist you all chose to see and the artist you all chose to skip is bewildering.

[Green]

Who did they skip?

[blue]

dropkick murphys, ted nugent and more

[red]

and blah blah blah i do want to discuss ful plates or busy busy blah blah. the first is all i wanted to say, it is bewildering. period

[Green]

I thought you meant they skipped something this weekend. They cant catch everything, you figure with all the major shows coming to town they report on 80 to 90% of them, sure they skip more of the small inde stuff but thats fine, they will cover those bands if they make bigger waves but I think they cover and market pretty well. You cant expect them to review every single thing and sure sometimes it looks silly to cover one thing over another but its just how it goes, if you were doing this you would miss something too. If you see something they missed write up a review yourself, I think they have posted fan reviews in the past, not a lot but i think i saw one or two.

[Jeramiah]

Brian McTavish has a nice review of the show on KC Confidential at http://www.kcconfidential.com/?p=18887#more-18887

[mankvill]

Rufus Wainwright is amazing and the main person the KC Star should have covered for last weekend.

I would've been at his show in a heartbeat if Boris, one of my favorite bands, wasn't in town that same night.

[bewlay]

I agree, I have no interest in reading a review of Ted Nugent or Dropkick Murphys.

[jeff]

felt like i was witnessing something very special sunday night. i thought the first set dragged slightly half way thru and the "eye" visuals were cool, yet could have evolved into so much more, yet still i come away moved- my wife to tears. The total effect was truly mesmermizing and his voice and range and his chops on the piano were astounding. I probably won't remember the songs, but the image and the vibe will stay strong forever. Second set was fun, got to hear "Cigarettes and Choc. Milk" along w/ Hallelujah" that he didn't do at VooDoo lounge 3 years back. He really seemed to be having a good time, and all the small talk about KC was fun, unlike the repeated, rehearsed banter that comes with road shows. Thanks for reviewing a show that was based on artistic merit, not just commercial appeal.