The continued cries of “Jesus!” are not unwarranted tonight, and neither are those of “South Africa!” either. After all, it was that country which took Sixto Rodriguez (aka Jesus) to its heart when his American homeland ignored the two albums he made in the early 1970s. Working as a labourer and sometime political candidate after their release, thousands of miles away in Johannesburg (and beyond) he was bigger than Elvis.

This year’s ‘Searching For Sugarman’ film may be the reason the Dome is sold out tonight. Throughout the documentary it was reported that many fans around the world believed Rodiguez had died at some point in the 1970s. But reputation grew, gradually, and each time he toured in the interim, more minds were turned on to his music. So tonight’s gig, at the end of a short tour for the 70-year-old, would feel like a resurrection even if the songs weren’t so simple, affecting and softly played – and even, it must be said, if the singer didn’t appear so fragile, humble and, well, elderly.

Escorted onstage by two helpers to a mic which picks up wheezing when he’s not singing, Rodriguez is nevertheless coolness personified in a wide brimmed hat and black leather outfit. He opens with ‘Climb Up On My Music’ from 1971’s ‘Coming From Reality’, and from thereon in every chord and note seems perfect, if artfully aged. Backed by four musicians who deftly and respectfully follow his lead, Rodriguez rarely offers banter, happy instead to breathe new life into his library of still potent messages.

‘Crucify Your Mind’, ‘I Wonder’, ‘Can’t Get Away’, ‘Cold Fact’ and the most delicate version of ‘Sugar Man’ imaginable tumble from his acoustic, a plectrum-free hand strumming haphazardly up and down its neck. The sentiment behind ‘Establishment Blues’ remains as fierce as ever (although the final line is changed tonight to “it’s not worth stressing about,” possibly as a wizened nod to Rodriguez’s angry young self).

If there’s one complaint, it’s that this audience – in the palm of Rodriguez’s hand – would gladly have taken two more Rodriguez originals over the covers offered by way of encore (‘Blue Suede Shoes’ and ‘Like A Rolling Stone’). But no matter. All-too soon our hero is escorted offstage, glancing back to the audience as he slowly walks, smiling, fist aloft. It seems he’s made his point, finally. It felt amazing to be there as it was delivered.

Dome, Friday 30th November 2012
Words by Jake Kennedy
Photos by Emma Gutteridge