Live Music Review | Unpublished


Tanya Donelly
April 11, 2002
The Theatre of Living Arts
Philadelphia, PA

Music fans cannot live by recorded tunes alone. Experiencing music live is essential for anyone who really digs this particular art form. Often, transporting and powerful moments occur that just can’t be duplicated by popping in a CD. Such was the case when Tanya Donelly and her collaborators made a stop in Philadelphia supporting her lovely Beautysleep record. Donelly, an alumnus of arty rock pioneers Throwing Muses and ‘90s alternative starlets Belly and The Breeders, now creates music under her own name, with Beautysleep being her second solo full length.

Sadly, the TLA (a converted movie theatre on Philly’s trendy South St.) was significantly under-filled as Donelly and Co. took the stage following openers The Dirty Triplets and a solo Chris Lee. Circa 1995, the Donelly-guided Belly was probably selling out venues three times the size of this room, but things have changed. However, Donelly seemed un-phased by it. Instead, she smiled warmly as her large eyes peered out beneath pig-tailed golden hair with two ample locks framing her face. One of the first things you notice is how tiny she is. Her voice, however, is anything but; attention grabbing, expansive and wondrous, it is an absolute joy to behold live. You also notice her striking prettiness, but let’s keep my fanboy gushing to a minimum. Supported by her band –- husband Dean Fisher (bass), David Narcizo (drums and former Throwing Muse), Evelyn Pope (backing vocals and keyboards), and Andy Warhol look-a-like Rich Gilbert (who played everything from mandolin to slide guitar to keyboards) –- she offered an "hello" (and nary another phrase beyond "thank you" the entire evening) before starting off with "After Your Party," a mellow keyboard-driven tune from her Sleepwalking EP that expertly details big city loneliness.

Culling most of the set from the new Beautysleep and 1997’s Lovesongs For Underdogs, Donelly’s voice captivated the audience whether it was gliding through rockers ("Landspeed Song") or weaving angelically among measured tempo material ("The Storm"). The band played clearly and tightly, always giving Donelly’s enrapturing voice the perfect backdrop for which to be properly showcased. As her current record is a more subdued affair colored with sonic nuances rather than the big sugary pop hooks of her previous output, so was this live show. The melodic keyboards -- especially impressive on the atmospheric "Moonbeam Monkey" -- filled in where driving guitars existed during the days of Belly.

Donelly did appease those that called for songs from the Belly era with the rambunctious and lyrically quirky "Slow Dog" from Star, though she didn’t touch anything on the superb . She also played a masterful version of "I’m Your Toy (Hot Burrito #1)" by the Flying Burrito Brothers. Set to a sweet, twangy arrangement, I saw visions of Donelly fronting a country-tinged rock band – and it didn’t seem that farfetched. Following the revved-up "Lantern" and the set-closing "Wrap-Around Skirt," the band re-emerged for a three-song encore that ended with the softly pleading "Stay." This brief instance of hushed observers, strummy melancholia, and Donelly’s astonishing voice was one of many transporting moments that occurred this night. It proved, like all great live performances do, that music is at its most powerful, affecting, and rewarding when it’s being played right in front of you.

-Doug Sell