B l u e P a r a d e - A S a r a h S l e a n F a n s i t e
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Trinity-St. Paul�s Centre
Sarah Slean seemed a little bowled over by the size of her audience on this Saturday night. She giggled and gawked incredulously, offering faux swoons to the enthusiastic hundreds in attendance.
After all, clubs, not concert halls, have been her familiar territory of the past. But the 25-year-old singer-songwriter is now riding a deserved wave of increasing popularity, no doubt due to the airplay of her "Sweet Ones" video and single.
Being a little overwhelmed probably explains why Slean was a bit slow in making a connection with her audience. During the first four numbers, Slean said virtually nothing and kept her eyes shut the majority of the time. Although she writhed expressively on the piano bench and her face communicated the intensity of her emotions, the effect was still somewhat distancing.
Then she launched into a cover of Lenny Kravitz�s "The Difference Is Why." Freed from the restrictions of pounding the ivories for this song, Slean began to loosen up and engage with the audience. From that point onward, Slean settled into a confident and masterful performance that pulled the audience closer and closer to her.
Despite the early stiffness of her interactions, the music never suffered one iota. Slean opened with powerful versions of "Eliot," "Duncan" and "Bank Accounts," pounding into submission anyone who came expecting more delicate material. Slower numbers such as "St. Francis" and "Book Smart, Street Stupid" were rife with dramatic shifts in dynamics. Even solo performances, such as "Me, I�m A Thief" were mesmerizing in their intensity.
Slean was backed by a crack six piece band, including a string section and Sarah McElcheran on trumpet, flugelhorn and what appeared to be a conch shell. They all followed Slean effortlessly, through every swooping change that her music demands. And although it�s early in the tour, arrangements were already evolving beyond the recorded versions � for example, an enchanting bass obbligato section in a verse of "Duncan."
Particularly benefiting from musical retooling are the older songs "Weight," "Eliot" and "My Invitation." These three had already been vastly improved when re-recorded for Slean�s latest CD, Night Bugs. Live, they continued to gain further complexity and depth. Slean also closed her set with a knockout version of "Playing Cards With Judas," arguing strongly that she should perhaps go back and re-record her entire catalogue.
So despite some early jitters, in the end Slean had no trouble performing in a larger venue. Next stop, stadiums!
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