Acclaimed UK artist Benjamin Clementine finally made it to Australia for the first time, performing on his Back to Basics tour. Last night’s appearance at the Forum Theatre was part of the Melbourne International Jazz Festival.
Review: Greg Phillips. Photos: Jason Rosewarne.
Without fanfare, at 9.20 pm, as stated on the ticket, the curtain rises, and there sits Benjamin Clementine, alone at a grand piano which is draped in a fitted white sheet. Attired in an imposing black coat and dark sunglasses, he is surrounded by black curtains. A stunningly elegant black man, possessing a manic head of hair, shimmers in the spotlight. The Melbourne Forum crowd stands spellbound as Benjamin, after a few moments of silence, finally cuts the tension in the air with a few disconnected notes, signalling a commencement of sorts. The Mercury Prize-winning UK artist then launches into a ten-minute version of Nicholas Nepolitano, one of his character-driven allegories exploring identity, displacement, and self-invention. It’s a song he has yet to release as a recording.
Atonement, from his 2022 album And I Have Been, follows, revealing a beautiful baritone voice floating effortlessly above his lucid, rolling piano notes.
Easing into London, from his 2016 record At Least for Now, Benjamin cruises through the verses, only to unleash incredibly powerful higher notes upon us out of the blue.
Cornerstone, a song that delves into themes of isolation, loneliness, and solitude, is performed with deep passion and tugs at the heartstrings.
Adios continues his penchant for ascending piano runs, leading into an under-the-breath conversation with himself before breaking into a gorgeous operatic section, displaying his amazing unconventional style and vocal versatility. This is the genius of Benjamin Clementine and why his live performances are not to be missed.
Much like his persona in our pre-tour interview, in concert Benjamin explores ideas, flitting between themes of grief, sadness, hope, and happiness. As he becomes more comfortable, he opens up and becomes playful. During a song the internet has dubbed “Rudy Rockingberg“, he implores the crowd to sing back the chorus: “Nothing is final, nothing is final, everything is going to be fine.” Not once, but twenty times, as he counts us down.
A haunting version of Condolence showcases his incredible vocal range and absolute understanding of show dynamics. Knowing he has the audience in the palm of his hand, he again solicits our participation, this time critiquing and correcting our rhythm, then our phrasing. Such is the trust and control he establishes within the room.
Taking the spotlight back for himself, he delivers a whimsical Jupiter from his I Tell a Fly album. Then, in his first real extended exchange with the audience, Benjamin confesses his fear of flying but his enjoyment of road travel, suggesting that he’d like to one day drive from Perth to Alice Springs.
A vibrant Nemesis ends the main set as Benjamin leaves the stage to thunderous applause.
Clementine then returns one more time to perform his declaration of resilience, the compelling I Won’t Complain. Upon completion, he stands to receive the wave of love and accolades directed at him.
Was it jazz? Probably not. Poetry in motion? Definitely … and without question, a unique, powerful, musical and collective human experience.
REMAINING AUSTRALIAN DATES
Wednesday, October 21st
Enmore Theatre, Sydney NSW
Saturday, October 24th
Fremantle Arts Centre, Perth WA
Sydney Perth Ticketing information: https://www.act3presents.com/
Benjamin Clementine official website: https://www.benjaminclementine.com
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