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Jen Cloher
Reviews

Jen Cloher Review

Jun 24, 2023
-
Posted by Francesca Moore

Jen Cloher was met with a very warm welcome at the Green Door Store. First time back in Brighton since a stripped-back solo guitar performance at Komedia in 2018, this time Cloher was here in force with, in most parts, a newly formed band.

Up first was a strong supporting performance from Hachiku: dreamy electro-pop vibes with strong melodies from bandleader Anika Ostendorf, who is also playing keys for Cloher’s band on their ‘I Am The River, The River Is Me’ UK and Europe album tour.

First on Cloher’s set-list was ‘My Witch’, a sensual number with rocky rhythmic undertones layered with vocals like honey when it opens with “If you wanna be my witch, lay it on me, be the ride you hitch, when you hit that perfect pitch, I wanna be, wanna be that switch”. It’s a taste of what’s to come, with Cloher’s alluring charm drawing in the crowd; a modest yet charismatic performer who draws you in with ease.

There was a fantastic mix of songs from the new and last album. ‘Shoegazers’ and ‘Sensory Memory’ from the self-titled 2017 album came next before jumping back to the new album for crowd pleaser ‘Harakeke’. The lockdown was a period of creativity for many artists, and for Cloher it was a time well spent connecting with their Māori heritage. This song about the flax plant, which has been used by Māori people for the ancient art of weaving for many years, is synonymous with Cloher’s journey of discovery, and the song was sung with the warmth and connectedness of someone who has truly discovered oneself. Lyrically astute, Cloher has not only journeyed back in time along matrilineal lines but has learned a new language that’s been woven into this album so thoughtfully and respectfully, as though it has always been their mother tongue. Taking the time to share the meanings, and the simplicity, of these ancient words and proverbs during the set confirms this album was a real labour of love.

This was symbolised most with the song ‘Mana Takatâpui’. Takatâpui, Cloher said, was the result of a curious Google search for the Māori word for Queer, and is defined as a devoted partner of the same sex. The song is now Cloher’s celebration of the indigenous Polynesian people of mainland New Zealand (Aotearoa), and of the LGBTQ+ community, of which Cloher stands strongly within. The word itself rings perfectly in a chorus with twanging guitars and Cloher’s silky poetic and observant lyrics. It was a real favourite for this Brighton crowd.

There were new band members since their last full set-up, except stalwart drummer Jen Sholakis, but it was revealed that Ostendorf was in Cloher’s ‘bubble’ during lockdown, and so their creativity wasn’t inhibited, but rather inspired. The band had a real synchrony and looked as though they were having a lot of fun together on this swift UK and Europe tour.

Near the end of the set came ‘Strong Woman’, a song written to acknowledge Cloher’s strong matrilineal line, but on this occasion the lyrics were changed to ‘Strong Person’. Cloher said afterwards, whilst greeting the crowd and signing albums, that this was a nod “to be more queer inclusive”. Though this is true, this new version didn’t have the catchiness of its predecessor, or even the lyrical beauty of the Māori language that had been blissfully woven into this set.

Checking they were good for timings, Cloher ended the night with an emphatic and lengthy rendition of Patti Smith’s iconic ‘Land/Horses/Gloria’ medley. Cloher embodied Smith with aplomb – it was a moving tribute that saw everyone shuffling their feet and singing back. It was a perfect ending to the show, which wrapped up the UK leg of the tour.

Listen to Jen Cloher’s ‘I Am The River, The River Is Me’ title track here.

The Green Door Store, Thursday 15th June 2023
Words and photos by Francesca Moore

Jun 24, 2023
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Francesca Moore
Francesca Moore’s passion for the performing arts has seen her photographing live stage events for the past ten years; shooting at intimate venues and major stage events for a range of editorial clients, and with the production of limited edition fine art prints. Her personal work stems from interests in people and the environment, where she draws on her scientific background to portray humanitarian, social and environmental issues. She began contributing to the SOURCE after a permanent move from London around the time the magazine was dropped for an online only presence. She’s assured there’s no correlation.
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