John Mayer at Allphones Arena - 25/4/14 - Live Review

As physically sparse as Allphones Arena may be, the hardy reverberations of Grace Potter and the Nocturnals boiled the dome down to its most personal form. Potter’s voluminous vocals soared alongside impassioned and tender blues-rock. The level of energy possessed by the band is comely although gradually it became divergent and detached from the interests of the audience as opposed to the band. Undoubtedly talented, they tended to showcase a series of drowsy solos and moments of revelling in their own fantasticness, at one point – the end of their set – they appeared to disregard completely their audience. In unison, the entire band fervently drummed

away at congas, their respective drum kit, the cymbal stands, the floor, etc. Incredibly theatrical, although perhaps slightly unnecessary and suited to a venue of a different calibre, a smaller one where it is more possible to be in tune with the musicians’ headset and gruelling passion.

Suave, talented, self-absorbed: John Mayer remains the pretty boy image of a time so recent, yet lodged so far in the past. Twelve technologically apt years have passed since the release of his debut Room For Squares. Mayer’s musical tendencies seemed to be heading in some kind of meeting of pop and blues; a definite direction, maybe halted by his swerve into country music (Born and Raised, 2012). “I took it easy on my last two records, but you’ll be able to dance a lot more to the next one.” he mused. A very personal debate still exists within the writer as to whether his vocals seem like that of a raspy duck, or if they are overwhelmingly sultry and gorgeous. Regardless,

the breathy undertones compliment perfectly his overall musical clarity.

Mayer handles his guitar clinically, expressing (whilst strangely reminiscent of Este Haim’s bass face) a genuine ability and vigour in his method.

He isn’t dealing too well with growing up – Mayer’s music remains, at least for him, a time capsule for who he used to be; a twenty-something guy who was “just figuring it out”. He pulled us back to 2002 C.E., the epoch which birthed the Cargo-Pant Anthem, “Your Body Is A Wonderland”. Obviously nostalgic for him, as he offered a spiel on women and feelings and sex and women and every other woe faced by a twenty-something “just figuring it out” in 2002. And the song itself? Apparently an indulgence for the audience; Mayer commented on reading a review from his Melbourne show a couple of nights before, wherein the writer was discontent at the fact that Mayer never seemed to play it again, hence this review is written with the discretion that John Mayer may indeed be reading it (in which case – you are doing everything right, you are not doing anything wrong, your music is the best thing I have heard in my whole entire life, you are attractive, I love 2002 as much as you do,

please don’t single me out in front of an arena audience).

A peachy cover of Beyoncé’s “XO” was welcome to what can only be described (without cringing) as an uplifting set. Mayer’s attempt at humility within it was endearing, in actuality creating an inverse effect – “I’m not playing music because the record companies want me to, or because anyone else wants me to. Not even if I want me to. I’m playing music because I should be.”

Singing is as easy as breathing for John Mayer, his brooding nature is at the best of times muted to showcase his refined musicality. Concluding his encore with “Gravity” Mayer’s delicate guitar lines alongside alluring vocals were sublime, creating moments which were, at times, captivating.

Review by Jessica Syed

Photo by Geneva Valek view more here

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