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The Beck’s Music Box at the Esplanade in Perth is just a bit funky. Think futons and throw cushions under the stars and you’ve got the general idea. It is definitely a venue geared toward the older, more – shall we say – sophisticated Perth music aficionados. The Box is not necessarily a place to name the latest names and scream them in blazing lights, but rather to explore the more intriguing elements of musical culture.

But, looking around at the lounges, chairs and bleacher seating of the 50-and-overs, you can just about imagine the dirty, ripped jeans and bare-feet they would have sported 30 years ago. This is, after all, the night for one woman who will take them back to their heyday – Marianne Faithfull.

Faithfull does not actually look so different from the waifish young lass who stole the heart of one Mick Jagger back in the 60s. Waiflike though she may no longer be, she’s still got spunk – declaring that a restricting ankle injury was an “awful drag…but shit happens.”

The banter was as deliciously husky as ever, but early in the set Faithfull’s famously sexual growl seemed hoarse and raspy. The Crane Wife 3 was forced out in a gravely fashion and the popular Hold On, Hold On sounded so strained that it was positively painful to listen to.

The years (and the lifestyle) seemed to have taken their toll on the vocals, but these songs were saved by the incredibly versatile seven piece band. Electric violin solo, anyone? Yes please! The talented band continually changed it up between two guitars (one tiny and one regular sized), a bass guitar, double bass, oboe, clarinet, keys, piano, accordion and all manner of percussion.

The sense of drama created by the big ol’ double bass in Germany Before the War was deep and tantalising. It was a wonderfully dark rendition, brimming with intrigue; the daggy flashing fluoro lights gave way to a deep red glow which cloaked Faithfull and highlighted her sparkling diamond earrings. The iconic singer was also beginning to find her voice again; perhaps the first few numbers only served as warm-ups.

It was in the famed Broken English that Faithfull’s voice absolutely shone. The vocals were incredibly smooth with a raw quality and power – surely today’s popsters are puffing their way through the cigs simply and solely to get a voice like this.

Faithfull is one charismatic lady – claiming to be an honorary member of the Black Rebel Motorcycle Club on account of her European film “Naked Under Leather”, she launched into a cover of Salvation. By far the best received song of the night was the Ballad of Lucy Jordan – this depressing tale of a life-wasted even got some of the (all-too-polite) crowd swaying in their seats.

Poor Marianne did have the difficulty of dealing with a stiff audience. They were enjoying the performance, but Beck’s Music Box generates very little interaction between the performer and the crowd (dare not call them punters.) It is set up too much like a cinema or theatre; an environment that promotes observation instead of participation.

Try as Faithfull might to urge and plead with her fans to sing along; they would not give an inch. This was clearly a class in silent music appreciation, and even though everyone enjoys music in their own way, when Marianne Faithfull asks you to sing with her…you sing! It is just common courtesy, and all in the spirit of a good time.

Eventually, Faithfull’s ankle injury got the better of her. Looking exhausted and barely able to stand, she declared “I’m going to stay here, do my encore and then go back and get off to bed.” This is the exact type of no-nonsense encore that all artists should practise; no more waiting around for something which may or may not happen.

Sing Me Back Home capped off a night of pleasant surprises – last but not least, band member Daniel Coulter playing a long hacksaw to a wonderfully eerie effect. Faithfull managed a final stand and bow for her audience, half of whom gave her a standing ovation, which was unexpected given their lack of apparent enthusiasm for the duration of the night.

Although Faithfull is no longer the slender, stunning rock ‘n’ roll muse who influenced an era, she still has a magnificent presence on stage. Despite some cracks and obvious strain in the power and quality of her voice, the stories that Faithfull’s music holds have more power, intensity and truth as she ages – the mark of a true musical icon.

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