Walking up the creaking wooden stairs of St George’s, past faded portraits of the church’s numerous custodian clergymen and in to an Ezra Furman show seems counter-intuitive. Perhaps one of Furman’s opening lines sums it up best; with reference to her own religion, the proudly trans performer remarks of the huge crucifixion statue that hangs above the stage: “the dead Jew above me is a little unsettling”.
Bathed in the soft pink glow of well placed stage lights, the chapel is actually an ideal space for Furman to perform. A wonderfully welcoming atmosphere, an expectant sell-out audience and acoustics to die for. Whilst it’s (almost) certain that the architects didn’t design St George’s to host an artist like Chicago-raised Ezra Furman, it all works perfectly. Just a shame the faithful had no choice but to sit obediently in the pews rather than perambulate across the polished floor.
And talking of the faithful, the church is heaving with a crowd who very obviously adore Furman and it is easy to understand why. There is a fragility and vulnerability to her persona and yet the music has an honest confidence backed by a bravura delivery. References to the ecclesiastical surroundings abound and the show feels very much like a confessional as she tells of her personal and artistic transitions through the last decade and a half.
Furman’s latest sonic incarnation takes a more traditional rock’n’roll route and at times the guitar-driven sound seems one saxophone short of Bruce Springsteen. This provides another fascinating counterpoint: Furman and Springsteen could be viewed as dynamically and utterly opposite in personality, but both are expressive musicians who tell stories from their lived experience, an unexpected comparison indeed. And like The Boss, Furman is ably backed by a band of considerable talent, but they are musicians who never at any moment lean into the limelight. The show features tracks from the new album ‘All Of Us Flames’. Furman’s sixth and perhaps most personal recording is a deep exploration of faith and identity. Again, the venue is a fitting place for such themes.
Furman’s voice cracks at times, never quite reaching the polish of her recorded sound, but nonetheless the show is all passion, emotion and heart. The challenges of facing intolerance as a trans performer are beautifully expressed through a warm, lyrical and engaging performance.
Walking back down the stairs and past those ancient priestly portraits, they somehow look different… perhaps a little more benevolent than on the way up? All were men, photographed in classic upper-body pose, and one wonders what they would have made of the show. One also wonders what was being worn from the waist down.
St George’s Church, Wednesday 16th November 2022
Words and photos by Jason Warner
