Leon Bridges + Noah Kahan @ The Palais Theatre - 14-01-19
words by Sarah Rix // photos by Sean Kirkwood @seankirkwoodphotography
Review
“… even though he’s pushing into newer territory, he’ll always still carry that old soul appeal.”
Watching Leon Bridges on stage is like watching a weird, bend-y time warp. You’re looking at an artist who’s inevitably going to age into his stage presence very well – but you’re also getting thrown right back to the early days of speakeasy rhythm and blues.
It’s a predominating sense of new versus old, and it’s one Bridges deals with in both his stage presence and in his music. As it stands, it’s made for a bit of a rocky no-man’s-land middle territory. Optimistically, though, this also allows for a dynamic long-term approach.
Opening the show was Noah Kahan, a Vermont-based artist who packed his opening slot with good, self-deprecating one liners and an energetic delivery. There was also plenty of sound coming from the stage. This is always a nice surprise from a guy holding an acoustic guitar – Kahan smart enough to get help from a three-piece backing band, whom he later introduced by joking: “Without these folks, I’d be the Jewish Ed Sheeran.”
Like Sheeran, Kahan’s got a good ear for pop melodies. "Hurt Somebody” is definitely that track you’ve heard but never knew who sang and new single “False Confidence” is rich in instrumental layers but easy to get into thanks to the chorus of “oooohs”. “Young Blood”, meanwhile, proved Kahan’s got an impressive set of lungs that’ll turn heads. He’s able to switch so easily between sweet croons and deep growls, moving from pop to borderline-hardcore at the drop of a hat. I’ll just be curious to see if he ever escapes the “singer-songwriter, open-mic” vibe and open up his appeal to a pop-radio audience.
It hasn’t been long since Leon Bridges was last in Melbourne. In March 2018, he played a show at The Forum ahead of the release of his sophomore record. It was a glimpse into what was to come from Good Thing – Bridges trading off some old school ballads in favour of uptempo, festival-ready crowd pleasers.
Then, he’d seemed a bit on the nervous side, as if he was still settling into that presence and sound. The way it was presented had seemed more spontaneous by way of unfamiliarity. He and his band had still been getting into the tracks and their live iterations.
Now, with more miles on the road map and with the audience having heard the new record, there’s still spontaneity, but it’s almost obligatory – especially on a number such as “Lions”. It’s like he’s improvising because he wants people to know he’s both able and willing to get loose.
Bridges’ choice to move into a more contemporary, mass-appeal sound makes a lot of sense, but it’s a battle against his original audience’s bias. He’s an old soul and many people who were first attracted to 2015’s Coming Home were likely fans of the throwback soul ballads which Bridges cornered the market on. Now, in opening up his sound to a wider range of people, there almost needs to be a re-adjustment in expectations.
Thankfully, there’s a lot to like. “Bad Bad News”, from Bridges’ new record, is a big, big tune and seeing the live dynamic between him and his two backing vocalists was a delight.
His band deserves a lot of the credit, too, particularly with a track such as “Georgia to Texas” which started with the ever-rare double bass solo. It was a contrast to hear the smoothness of Bridges’ voice against the deep, tangible delivery of the instrument – further amplified by the light/shadow play that took place around them, plus the added bonus of an always-welcomed saxophone solo.
It’s also genuinely fun to see Bridges perform, pacing back and force across the stage between his seven-piece band with a nervous energy. It’s not a suaveness or a smoothness, but it’s very authentic and true to himself. You just know that when he’s 65, he’s going to present it the same way and it’ll continue to be equal parts awkward and wholly endearing.
He eventually got the crowd into it, too, asking everyone to stand and dance for “You Don’t Know” 11 songs into his 19-song set, then later telling the crowd: “I need some more energy from you. And I figured out the problem. I’m not giving you enough energy.”
While his dancing and general celebratory-atmosphere was a welcome way to spend a Monday evening, the biggest moment of the night came from Bridge’s stripped-back encore. “River” in all its delicate, earnest delivery is the perennial crowd favourite – and for good reason. It’s a reminder to the audience that even though he’s pushing into newer territory, he’ll always still carry that old soul appeal.
For Bridges, it’s a time of adolescent growing pains between the old and new – but there’s an overall sense that it’s shaping a very solid long-term career.
