520 Etc.: Fiona Gets Us Back
Fiona Apple and opener David (pronounced Daveed) Garza made quite an impression last Saturday, August 5 at the dazzling Tennessee Theatre. The beautiful environment within the theatre – tall Technicolor terraces and ceilings and a spacious stage draped in velvet) paired with an intense yet soft set of music made for an unforgettable evening. Garza was like a siren. And Fiona just has this indescribable way about her.
Garza, who could be described as a perfect mix of Jeff Buckley and Damien Rice, amazed the crowd with an intimate mix of songs, including a Rush reference, saying “YYZ and Tom Sawyer.” Either that or he strangely made a reference to an airport in Toronto and a Mark Twain novel. Toward the end of his set, Garza brought out what he called his amazing “loud” sparkling, silver guitar. Although an electric, he had a way of playing with the perfect amount of reverb so that it sounded as pristine as a Flamenco singer’s vocal chords.
In fact, he almost personified a Flamenco guitarist, either that or Don Juan, in his white long sleeve blouse, grey vest and mustache soothingly singing “How Much Does Your Heart Beat for Me?” This song from his latest album, “A Strange Mess of Flowers” had the crowd's hearts thudding loudly as they stared silently in awe.
My Heart Beats For You David Garza.
The rapid heart beats didn’t stop there, though, for as soon as Fiona made her entrance the audience stood up in strangely still anticipation. She didn’t say a word. Dressed in a long middle-evil-esque maroon dress, she approached the piano and began to play instantaneously. Instead of tip-toeing into the water, Fiona just dove right in a powerful splash “Get Him Back,” a song that seems a better set closer than opener. The song, with lyrics “But wait till I get him back, He won't have a back to scratch. Yeah, keep turning that chin And you will see my face as I figure how to kill what I cannot catch,” is intense, dissonant, and trails off into an explosive ending, the piano reverberating in sweeping waves of emotion.
Each song Fiona sings is like its own universe, its own world of emotion, intensity, diversity. And she pulls you into it only to guide you into a new version of her reality with her next song. When played live, Fiona performs different renditions of her new songs, which strangely enough, are different renditions from their previous form (the album was leaked on the internet years ago and she later redid them).
Although her songs have quite a lot to say, she didn’t actually speak until about a quarter through the performance when she stood up from the piano to sing center-stage. Some of the audience even commented that she had to be on drugs, because of her silence and strange mannerisms. She would hide behind the piano in the middle of a song and crouch down like a shadow boxer.
However, her first words to the audience were surprising, awkward and adorable at the same time. “Hi,” she murmured sweetly. She then covered her face and said, “I don’t know what to say.” The audience cheered and she launched into her next song. The next time her petite frame approached the mic stand, she seemed to be quivering slightly and holding her stomach. “Hi,” she said again in a surprising high-pitched voice. She apologized for not jumping around like she usually does and informed us that she wasn’t feeling well. She still could pound out her music perfectly, however, her voice even more emotional and intense than on her records and her piano was flawless.
“I’m sorry I said I wasn’t feeling well,” she apologized again upon sitting down at the piano.
“That wasn’t so professional of me.” She hesitated and spoke again. “But I’m not professional.”
Then her voice trailed off…
“It’s OK!!!” members of the audience screamed. “We Love You!!!”
Minutes later, the singer commented, "You know...I was having a really bad day. But you guys have just made it so much better."
Professional or not, Fiona has earned more respect for her music and honesty now more than ever.
Fiona's voice in concert is as powerful as thunder.
She continued her set with Sleep to Dream, which sounded a little nightmarish, but in an obscure, positive way, like a lucid dream or a Tim Burton movie. As her set progressed her voice seemed to become even more haunting, raspier and fuller. You could feel her pain in her voice, and in the true definition of Wabi Sabi, her voice makes you want to cry even if it’s not a sad song. Perhaps that’s also the true definition of an Extraordinary Machine.
photos by Julia Marino