I hauled ass to the Elbo Room on Lincoln Ave. I never miss Pezz when she's in Chicago, well almost never. I feel very fortunate for being so familiar with her music. I go because if I don't I fear that it will disappear, well what I mean is that I go with that urgency. What I get a lot from this is how well she articulates the process of breaking off toxic relationships, like in "Parasite", from her latest, soon to be second CD Lion. Asserting oneself in the presence of the toxic. Her songs make you look into yourself, into your vulnerable self...and make it a source of strength. In performance that means you see the pained expressions flash across her face, expressions that are intact in the amber of her recorded work. In one of these pictures she looks so sad and depressed. That is how intense her live sets are. She is articulate and direct like dialogue in a play. The characters in her songs always speak and act out of righteous anger. Pezzettino is a counter-puncher like in "Walk From Here".
And so she says "I'm moving on..Don't think I'm hanging on!" and it's not focused on the loss, but forward and happily away, and that's so empowering....This is a great time to see her live because the weight of what she says shows in her face when performed. And this weight is not a burden for the audience to see. I believe what she expresses is resonant. And so she makes the accordion this really cool instrument. Who has not been wronged? The pendulum swings from pained to serious. She did this longer piano piece (that will be performed at some point in Milwaukee with a huge orchestra I think) with three distinct segments. It's so cathartic to see the emotions in her face as the piano rushes forward or simmers back. You can't help but identify with what she says. You are just cornered by just the use of piano and voice. Ah yes the name of the song "Pedestrian Drama" I believe. It's long but you don't really feel it 'cause your going through this dramatic roller coaster trip. It's gonna sound absolutely grand and operatic with orchestra. For the moment you get it in it's intimate minimal form of piano and voice. Then there are the songs that have her bounce around the stage. She has this happy playful side to her. "Timing" is a new song flirtatious and loaded with caffeine. The long bellows of her accordion sound faster with the beat she imposes with her stomping around. "You Never Know" also is lighthearted. It's her cardio song. The accordion also brings out the serious side, just like her piano work. 2010 finds her in the middle of this massive creative surge. Well honestly I haven't known her to have writers block. She is always writing music and for more and more instruments. Her live solo performances include xylophone in addition to piano and accordion.
No comments:
Post a Comment