More about: 4Father John Misty

Put bluntly – being at Father John Misty’s Barbican show now feels like a flex. Walking into the theatre stage only hours before the release of his new album Chloe And The Next 20^th Century, for the first second there was a collective agreement that this is how you’re supposed to see the figure. This is the peak.

With the tap of the conductor’s baton, the orchestra started up. If you’ve never seen a full symphony orchestra before, it’s overwhelming. The stage seemed to go one forever with every instrument you could imagine from xylophones to harpsichords to giant symbols. With sound so crisp you could hear each one, it was hard to not get distracted from the main event by focussing in on the different instrumentalists that showcase a level of skill and precision that the majority of the gig-going crowd might never have seen. I know I hadn’t.

As he launched into ‘Fun Times In Babylon’, everyone leans forward in their velvet seats. Caught somewhere between gig and theatre etiquette, each song pulled the biggest yet most respectful reaction from the crowd. Clapping till our hands hurt, it was a civilised affair on the surface while all our excitement fizzed from each individual seat. Even after the first song, mouths were open in awe. It would be easy to chalk it up to the orchestra, as the sound of one is naturally awe-inspiring, but Father John Misty’s performance rivalled its beauty from start to finish. With a voice that’s as rich in real life as it is on recording, there wasn’t a single slip up, a single dud note, a single moment that slipped from the bar of perfection.

From the audience’s eyes at least, as the singers opening words to the audience were; “It’s the first time we’re playing a lot of these songs, so I thought it would be good to get a symphony orchestra, have my fly undone for the first two songs then live stream it”. Everyone laughs, probably all in love with him, I definitely am.

As he flows between old and new tracks, each one seems to be brought into the realm of the new album. With the help of the orchestra, tracks from Gods Favourite Customer and Pure Comedy are removed from their futuristic Chateau Marmont setting and brought into the 1920 Gatsby by way of 1950s lounge singer vibe. It feels old timey in the best way, like seeing Sinatra in the flesh, performing in some velvet dripped Vegas theatre. And as the singer dances around the stage under warm lights and clad in a smart suit, his transformation from Californian poet to Manhattan crooner is complete. And had this album have been released back in the 50s, no doubt tracks like ‘Buddy’s Rendezvous’ and ‘Funny Girl’ would have become iconic standards.

Taking us through highs and lows as the lights go from lively blue to sexy red, even more upbeat tracks like ‘Q4’ and ‘Mr. Tillman’ gain a huge boost from the full backing. ‘Chateau Lobby #4’ somehow manages to become even better with the addition of strings and heavier drumming. And as he leads us into ‘Funny Girl’, the verdict is unanimous – this is the whole point, as every single thing about the evening’s event feels crafted for this exact moment and this song.

I think a lot of people are put off by seated theatre gigs, but even without the closeness of the crowd and the energy that comes from a dancing audience, Father John Misty has everyone captivated. With his effortlessly hilarious quips to his theatrical dancing, the crowd is transformed into his congregation, becoming more dedicated by the movement. Performing three encores and leaving everyone see wanting more, he could play for hours and hours and still the audience wouldn’t have been sick of him and the perfect night he made. In short, it felt special. The sound quality, the orchestra, the barbican’s beautiful setting and Father John Misty’s flawless vocals and funny lyrics, a gig like this is a rare diamond that didn’t disappoint at all.

See photos from the night by James Polley below:

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More about: 4Father John Misty