Brighton Dome was the sixth stop on the UK leg of electronic producer Jon Hopkins’ Polarity tour, which was sadly postponed shortly after, in the midst of the coronavirus pandemic, with his dates at the Royal Albert Hall and Europe now up in the air. Unfortunately, this is now a familiar story for touring artists.
Some folk were understandably concerned about attending a ‘mass gathering’ in light of the risks of spreading the virus and chose to stay away, but the stalls were surprisingly full and given how things have developed since, it could be our last hurrah for quite some time.
Hayden Thorpe’s support set was beautifully understated, just him on a grand piano (which he said Jon let him borrow) and synth, showcasing his gorgeous vocal range and proving he can hold his own as a solo artist, while including a nod to his former band, Wild Beasts, with a lovely version of ‘Palace’.
After the interval, Hopkins walks on to the stage to enthusiastic applause and sits at the grand piano. Bathed in warm light from a single, shifting spotlight, he plays the first few notes of latest single ‘Scene Suspended’. It is contemplative, calming, bordering on classical. There is quiet in the stalls. He takes off his cardigan (he means business now) and bangs out the notes. A guitarist joins him on stage, plucking a repeated chord that builds to a crescendo, somewhat reminiscent of Mike Oldfield’s ‘Tubular Bells’. A cellist and violinist then join in with slow, considered strings.
Hopkins leaves the piano and moves seamlessly to the array of synthesizers on the DJ deck, where the sound immediately becomes less classical and more techno, while a diagonal row of spotlights get brighter and brighter, then pulse in time with the pounding bass. A lone figure in the centre stalls can’t help but get out of her seat and dance, soon joined by others.
Then it’s back to quiet simplicity, piano and strings with orange moons lighting the stage, before the intensity ramps up again for ‘Singularity’ with rainbow-coloured flashing lights. Massive shout out to the lighting engineer – what a spectacle! There is now a real sense of euphoria with 80% of people out of their seats dancing; one man is even waving his crutch in the air, as panels of white light alternate between vertical and horizontal.
The set closes as it began, just Jon on piano with those warm orange moons, going back to his classical roots (he trained at the Royal College of Music). When it comes to an end there is a hugely appreciative standing ovation.
Happily, Hopkins comes back to play ‘Open Eye Signal’ for the encore, the audience clapping in time with the bass and drums. He follows with ‘Luminous Beings’, the instrumental version of ‘Luminous Spaces’, his collaboration with Welsh musician and producer Kelly Lee Owens. Closing with piano and strings, it’s hard not to be moved by the perfection of the show. There is no other artist making music today who transcends the genres of dance and classical as skillfully as Jon Hopkins.
If those who braved the gathering are struck down with corona, I think we can all agree it was worth it.
Brighton Dome, Sunday 15th March
Words by Emma Baker
Photos by Sarah Brownlow
