Grace Jones @ Enmore Theatre,Sydney (19/04/11)

Thu 21st Apr, 2011 in Gig Reviews

As one of Sydney’s most treasured venues, the Enmore Theatre has seen its stage graced by an almost endless list of world class acts; however, very few have been able to control and command almost every aspect of the venue as naturally as Grace Jones. Drawing from over thirty years of material and experience along with a wardrobe to match the diversity of her exclusive sound and style, Jones and her band played through old gems including Slave to the Rhythm and La Vie en Rose while also giving fans a taste of newer material, particularly off her latest effort, Hurricane.

Jones’ prowess as a performer comes from her ability to synthesize all aspects of her shows. Throughout her impressive two hour-plus set, Jones changed costume six times, each as flamboyant and astounding as the last. In the short breaks during her costume changes, Jones took her microphone back stage and recalled stories with the pacing and humour of an experienced comic. Her deep, albeit feminine voice, echoed throughout the theatre enigmatically as she, although not present on the stage herself, drew the audiences focus on it in anticipation for the next transformation she was to emerge with.

During crowd favourite, her famous cover of the Roxy Music track, Love Is the Drug; Ms Jones’ took to the stage wearing a costume and hat adorned in glitter, proceeding to utilize the headpiece to reflect a laser throughout the venue. Her ability to manipulate the atmosphere of the Enmore was no less than awe-inspiring. Jones had turned the Enmore into an opera venue in her invigorating cover of La Vie en Rose only tracks earlier, and shifted the theatre into a disco hall for Love is the drug before turning it into her own unique domain for Slave to the Rhythm.

Beforehand, I naively thought that Grace Jones, at 62, may be slightly aged in her performance. I could only assume that the doors of the Enmore served as some form of time and space paradox as Jones seemed to give an even more energetic and powerful show, clearly feeding off her years of experience. Although many acts from the same era have maintained their integrity and live performance, I am convinced, after seeing her navigate the stage in a rose costume with an almost bare back revealing the singer’s famous figure, that Grace Jones may very well be immortal. Her pipes were far from waned, as seen in her use of her extensive two octave-plus vocal range, in tracks such as My Jamaican Guy and the cover of the Pretenders classic, Private Life.

Although I was not born during the height of Grace Jones’ popular career, I find it hard to believe she would have been able to put on a performance that utilized so many aspects of showmanship. A fight cleared out two rows in the lounge, requiring many Enmore security guards to be called to the scene. This caused quite a commotion occurring mid-way through her last song, Slave to the Rhythm, however, Jones paid no attention. The fight caused the majority of the lounge to shift their attention momentarily away from the stage. Jones re-affirmed her dominating presence, paying no attention to brawl, proceeding to draw the audience to promptly return their gaze for the conclusion to what was a clear example of why Jones is still considered such a lauded figure.