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Hailing from Detroit, US, Sufjan Stevens is multi-instrumentalist singer/songwriter, creating left-field indie pop reminiscent of '60s folk acts, with lyrical vocals in the tradition of Bob Dylan.
Sufjan Stevens made his first foray into music whilst he was attending college, becoming a member of the folk rock act, Marzuki. The band released two full-length records before Sufjan Stevens decided to pursue a solo venture, beginning to perform as his own act in 1999. Stevens dived headfirst into his solo music, releasing his debut album, "Sun Came," in 2000. The album displayed his music talents, as well as penchant for catchy melodies. After the release, Stevens toured with the Danielson Famile, becoming regular musical partners since.
In 2001, Stevens changed tack, releasing the electronic-heavy "Enjoy Your Rabbit." Again looking to progress, 2003's "Greetings From Michigan: The Great Lake State" was a 15-track concept album, that saw the artist play over 20 instruments, creating a soundtrack for his homeland's winter experience. The album gained widespread critical acclaim and was touted as the best record of the year in several publications. Stevens followed this success with "Seven Swans" in 2004, a more spiritual, thought-provoking record.
Again focusing on North American states, 2005's "Illinoise" dealt with Illinois, again finding critical acclaim internationally for his efforts. In 2006, Stevens was absorbed with festive cheer, releasing the five-disc christmas box set, "Songs for Christmas.' Turning to instrumental music, "BQE" was released the following year, a cinematic record that captured New York City's transportation system's atmosphere. Continuing to perform regularly in various outfits, Stevens returned with new music in 2009, with "The Age of Adz." Another christmas box set appeared soon after in 2012, titled "Silver & Gold: Songs For Christmas, Vols. 6-10." Collaborative projects followed before announcing a new album for 2015.
Leer másthis is going to come out like the word-vomit of a rabid fangirl, but whatever.
i've been waiting approximately 8 years to see Smurfman in person and let me tell you 8 years worth of bottled up tears and teenaged giddiness exploded from my being last night. that evening, sitting in the pilfered pair of padded seats 12 rows back from his gracious glowing glory, my partner and i had each had our own spiritual experiences. we sat entranced by the power and perfection emanating from this fuggin angelic being practically floating across the stage. occasionally staring at each other, wide-eyed, sharing looks of mixed anxiety, awe, and pure joy. it wasn't so much a live music performance as a sensory-overloading multilayered performance art piece carried out over the course of 2 hours, which felt more like the most extreme 20 minutes of my life. saying that i stopped breathing a few times because i forgot to is not a lie nor an exaggeration. i honestly preferred to listen to him crooning, hunched over the piano to breathing. honest to god i have never felt that depth of sadness and overwhelming joy from a single artistic experience in my whole life. the sounds the voice the synths the lights (oh the lights!!11!1) the arrangements the encore ! i don't believe anything can ever be like that again.
and now to actually describe the show. my partner claims it had three parts. the intro being select songs from Carrie & Lowell (John My Beloved got some audience laughs, which was, i think, satisfying to him as it was to me) moving into Owl and the Tanager (All Delighted People and my favorite goddamn song in the whole goddamn world goddamn), and To Be Alone with You and The Dress Looks Nice on You (Seven Swans) and so much more. the second part ended with Blue Bucket of Gold by devolving into the most incredibly moving (tear and bowel) sonic breakdown and was totally unimaginable to me prior to it happening. i swear they were going to blow out the speakers and it never ended and it is still in my head and i hope it sounds like that after i die. the encore was what everyone wanted and was lovely. he played Casimir Pulaski Day and The Predatory Wasps of the Palisades (Illinoise) and like that was cool because he hadn't played that in a very long time prior to this tour, apparently and Chicago and that was just nice. nice nice man Surfjam is.
The lights go down and slowly starts an instrumental intro. the audience surrenders to a sublime voices and chords that prepare us us to meet the expected front man: Sufjan Stevens. The auditorium falls in a deep and respectful silence; was like fall in love at the first sight.
At the same time that start to play the first song, Die with Dignity, i start to cry. I felt like a Justin Bieber groupie. That just happens to me once, years ago in a Radiohead concert, at the beginning of Paranoid Android. But that occasion, was pure hysteria. This time, it sprang from my soul. Was beautiful, it exceeded my expectations immediately.
Sufjan and his band reviewed all the new album, Carrie & Lowell, adding to each song a unique and awesome audiovisual spectacle. And of course, surprising us with improvised changes and sound effects that remind us of his experimental side.
Then comes the typical moment when the artist ends a monumental song that seems to be the last one, and left the stage doing a cold goodbye sign (because he knows it's just a time-out). This typical moment was the same that all the concert: completely atypical. All the audience stand up of the chairs, clap and cheering ecstatically during an interval of 5-7 minutes.
Before that, all stay there, because we know that Sufjan and his guys comes again. And there it is! He come alone to the stage, with his outfit of the promotional image of the tour: a plaid shirt and a baseball hat - "i`m a guy of the north of the USA". The second part of the concert was totally unplugged: the new atmosphere is just a soft yellow light. The laptop goes out of the stage, and makes its entry the banjo. Sufjan make a review across his most emblematic songs of Illinoise...and make me cry again! John Wayne Gacy Jr., Casimir Pulaski Day, Chicago. A gift for the most loyal fans.
Sufjan's musical talent, his fantastic band, the variety of instruments that passed through his hands, his voice partner, the projections and the lights, generated a musical experience, where the huge audience felt in an intimate show, and the huge auditorium felt like a small universe, just of us.
I left the concert feeling of being in love: walking over clouds and with butterflies in my stomach.
We enjoyed every song, and I have no doubt that Sufjan Stevens also enjoyed it.
Thursday 3rd September. Royal Festival Hall. Sufjan Stevens. It’s with great expectation that we head to the South Bank tonight after their website crashed several times because of the demand for tickets. Second row of the balcony gives us a perfect bird’s eye view of tonight proceedings.
A hushed welcome for Sufjan and his five piece band tonight. The stage setting is dark and atmospheric with nine cathedral like windows illuminating from the back. The first half of the show is drawn completely from the new album. There is no interaction with the crowd for 75 minutes as we sit in reverential awe at the show that is set before us.
The music just envelopes you and the five piece band create a multi layered soundscape as if performed by a large orchestra. The light show and backdrop of home cinema films projected on the windows help to illustrate the concept of death that the album is largely about. It’s not a cheery topic and as is later explained death was a large part of his upbringing by his parents.
The band are all multi instrumentalists swapping between songs with the wonderful Dawn Landes (check out her solo stuff) adding guitar and harmonies.
The new album dispensed with the second half of the set has a lighter feel with a run through of oldies from across his back catalogue. Sufjan opens up during the second half and keeps us amused with stories of cosmic fungai, and dead animal piles in the garden.
The set closes with an extended Blue Bucket of Gold with the band supplemented with the vast organ high up in the venue reinforcing the church like atmosphere and an amazing light show strobing around the venue.
Highlights from the second half of the show for me are John Wayne Gacy Jr and Chicago but it’s the first half show that will stay in the mind. As a piece of music it’s perfect and well balanced and reminiscent of The Decemberists ‘Hazards of Love’ as a complete entity.
The venue tonight was perfect for the show with its great acoustics and size to absorb the visuals we are presented with.
It’s a near religious spiritual experience and I for one can’t wait to worship at the altar of Mr Stevens again. A unique and special night
Beautiful and brilliant. Seeing Sufjan Stevens live in concert was a dream come true for me – it'd been many years since he last toured in the UK, and unsurprisingly the tickets for his Royal Festival Hall shows sold out lightning-fast.
He played the entire "Carrie & Lowell" album without stopping to speak, accompanied by a five-piece band; the music barely paused to leave room for applause. It's an incredibly intense and heart-wrenching collection of songs – about his difficult relationship with an absent mother and coming to terms with her death – and the highs and lows are pronounced.
Sufjan and the band are all multi-instrumentalists, frequently switching instruments with one another: guitars, keyboards, an upright piano, ukeleles, lap steel guitar, chimes, banjo, recorder, and everyone providing vocals.
After acknowledging the applause (and a standing ovation) and leaving the stage, the band returned for what I assumed would be an encore song or two – but they proceeded to play another full set of earlier Sufjan material, with a much lighter emotion. Before beginning this, he seemed relieved to be able to say "well, we're through the vortex!"
From this point, Sufjan talked and joked between songs, thanking the audience for being there, and laughing at how polite the British are – he shared his amusement at learning that the UK driving test requires drivers take care not to "dazzle" one another with their headlights!
Some high points: when one of the band ran to the back of the Royal Festival Hall stage during a huge crescendo and played the massive concert organ (it felt as though the room was taking off); and Sufjan's astonishing voice and talent shine most when the band leave the stage and he performs a song like "No Shade in the Shadow of the Cross" alone, except for a subtle female backing vocal.
As his voice rose to the heavens above Red Rocks, “because he is the Lord, cause he is the Lord,” massive feathered wings grew from the back of Sufjan Stevens. Reaching for the full moon above, they spread open to receive the night, while Stevens’ angelic voice mesmerized the congregation. And then the dancers grew gossamer wings of their own; threatening to take flight above the monoliths, they instead lent their voices to the composition as the band came alive behind them, “ahh ahhhhhh, seven swans, seven swans, seven swans…”
Having employed almost every instrument known to man to explore the vast history of the state of Illinois, and having followed a muse into the depths of nu rave with a Day-Glo sideshow of interpretive dance, and then having pushed Christmas music past of the point of good taste, Stevens’ decision to return to his indie folk roots was highly applauded by critics and fans alike when he released Carrie & Lowell last year. His most personal (and perhaps best) album to date, reintroduced the man without a mask. Every track was barefaced and autobiographical and brutally brutally honest.
The choice to open with “Seven Swans” provided a glimmer of hope that the man behind the myth would reveal himself at Red Rocks as well. After all, the scene had been set with a vibrant double rainbow during the soothing, richly textured opening set by Los Angeles R&B group, Rhye. But all hope was splintered as Stevens repeatedly hammered his banjo into the stage at the conclusion of the track. Looking away from the carnage, I noticed harbingers of the pageantry to come: horns, a silver podium, yellow parachute pants, glow-in-the-dark makeup, an excessive amount of balloons…
See more at http://ilistensoyoudonthaveto.com/2016/07/19/sufjan-stevens-red-rocks-07-18-16/
Sufjan Stevens will give you the quintessential live musical experience. Not only is the music of an absolutely phenomenal quality (5 of his 8 albums would likely make my top 50 albums of all time list), but his live performances will never cease to amaze me. He reinvents himself with every album, and doesn't shy away from the theatrical. With his first couple of albums, Sufjan was more reserved; experimental, for sure, but theatrically not "out there." With his successive albums, he has performed with a group of backup dancers with paper wings ("Sufjan Stevens & Co. or Majesty Snowbird and the Chinese Butterfly Brigade"), with a brigade of psychedelically dressed backup singers during "Age of Adz", and a series of other incarnations. I've had the great privilege of seeing him perform during the Age of Adz tour in Philadelphia. Though this was about 3 years ago, that performance still ranks among the top three musical performances I've ever witnessed. Describing the show is difficult, as there are not many musical acts who could legitimately compare. I'm not being hyperbolic; it's just that he truly is a unique voice in music. The sound will surely be memorable, but the overall experience will be unforgettable. Seeing a creative genius such as Sufjan will forever stay with me, and I would urge you to grab any opportunity to see his performance and experience it for yourself.
Detroit born singer/songwriter Sufjan Stevens has been active as a musician for over fifteen years now. Although he received his commercial break with the sixth album in his discography 'The Age of Adz' in 2010, the craft and skill he has attained through touring for so many years is very evident onstage.
Often known for his conceptual and detailed pieces of music, his stage show is similar. Stevens appears entranced in his personal zone whilst playing, accompanied by full orchestra, tracks such as 'Year Of Our Lord' and 'Year Of The Horse' taken from his second album are so spine chilling you can almost feel the atmosphere in the room drop.
The majority of his sets focus around his 'Planetarium' arrangement as Sufjan coos in his breathy tones about almost every planet in our solo system supported by dreamy instrumental and ambient light displays. The whole track list merges so well into each other that you momentarily forget that you're listening to separate songs as it feels like one elongated beautiful piece.
It is now denying that Sufjan Stevens performing a complex live show to view, but one that resonates with the viewer intensely.
I bought these tickets as a gift for my son even though New Orleans is an 8 hour drive because Sufjan is his favorite artist.
When we arrived at the Saenger Theatre it became immediately clear that this was one of the most beautiful locations you could want. The stage was set for a perfect evening.
The opening artist, Moses Sumney, I had never heard of but he provided an almost instant wow with his one man show skills. His approach to creating music were not only interesting to observe but the music had all the heads in my section grooving along.
I had read reviews of some of Sufjan's previous shows on this tour and was expecting a generally subdued atmosphere. What I didn't expect was how Sufjan's performance would draw me in to Carrie & Lowell. Lyrics and vocals definitely brought me to tears at times.
He did not leave us grieving. Blue Bucket of Gold nearly brought the house down and provided the most WOW of the show. Chicago brought everyone to their feet (even in the balcony where we were) and left us all emotionally soaring.
So worth the trip!
I've been a fan of Sufjan Stevens' for about ten years, and this was the first time I'd managed to get to a concert. When he started, I was a bit miffed that Sufjan didn't interact with the audience at all - in fact all through the entire 'Carrie & Lowell' set (in which he played all of the tracks) not a word was said.
Then, suddenly, Sufjan gave us a little lecture on positive reinforcement, which I felt was a thinly disguised attempt at making us clap and cheer more. But he spoke so eloquently and played so well I forgave him.
The second half of the concert was better known to me, and demonstrated the band's versatility with all instruments which they continually swapped amongst themselves. A piece from the difficult 'Age of Adz' album won me over completely!
By the time he got to the encore pieces 'Casimir Pulaski Day' and 'Chicago' the audience was on its feet.
An experience to remember!
The audience seemed to understand that their role here was to sit and listen for the first half of the concert. It felt a bit like a funeral, but with bright lights, beautiful music, and nostalgic videos rolling in the background— designed to look like the windows of a church.
Once Stevens was finished playing songs from Carrie & Lowell, the band took 5 or so and came back. It then proceeded like any concert. Stevens finally acknowledged the audience, introduced his band members, and made lots of self-deprecating jokes about all of his songs' subject matter: death.
It was a chill, fun, and definitely entertaining concert. Stevens's voice alone could make spending $58 worth it, but the concert was simultaneously solemn, cheeky, and charming, though it was a bit awkward at times due to prolonged moments of disruption in the flow of things.
7/10. I would recommend it.
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