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Jamband Phish , trey
Norah Jones, The Backyard, Austin, TX, 6/15/07 Print E-mail
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Written by Brian T. Atkinson   
Sunday, 24 June 2007

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Photo credit Danny Clinch

 

Within its breezy confines, the Backyard is a typical Austin open-air venue—a blue-collar joint where dust clouds circle endlessly, canned beer is cheap and strangers trade knowing glances. The vibe is not unlike that of a scaled-down Telluride Bluegrass Festival, only with stifling Texas heat and folding chairs. The utopian buzzkill: it’s entirely delimited by a shopping mall.

Talk about clashing cultures. Segregated parking—concertgoers were forced to drive through numerous traffic snafus and into a no-man’s land lot behind the chain stores—delayed Norah Jones’ entrance by nearly half an hour. “They don’t let you park at the mall?” Jones asked later. “All that concrete—what the hell?” The comment released some tension in the restless crowd. Jones then brightened the mood with an elegant, sensual reading of Townes Van Zandt’s signature “For the Sake of the Song.” It proved the ideal remedy to charm a twitchy bunch of Austin music lovers.

The evening was a welcome return for the Texas-raised singer and Jones nearly filled the 5,000-capacity Backyard with an equal split of soccer moms, business-casual yuppies and college-aged free spirits. Many shouted praise often and indiscriminately. “Did I just hear someone yell, ‘You so fine?’” a clearly amused Jones asked between spot-on readings of her new single “Thinking About You” and a gloriously swampy turn on the Hank Williams classic “Cold, Cold Heart.” “I think it was a girl, too.”

Quips like that made the show. There’s little question that Jones and her Handsome Band are boundlessly skilled, but at times they’re rehearsed to a fault. “Sunrise,” “What Am I to You” and the opener “Come Away With Me” (with Jones on electric guitar) were as rigid as plate glass. But Jones’ few ad-libbed moments helped loosen the flow of her better-known songs. The newer ones, though, didn’t need much assistance, and in particular, the Vaudevillian “My Dear Country” resonated. Its message—“Nothing is scarier than election day”—instantly won over this progressive pocket of Bush Country.



 
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