reports (and pictures) at Fujirock Express '07

He doesn’t really worry too much about hitting all his notes, and would be as content to clap along to the drummer for two minutes as to play another song. Further, at the two shows I saw of his here at least, he didn’t talk much, but he communicates everything he needs to with his face. I got the feeling the party in his head was much better than party the rest of us were experiencing. (read the rest here)

-- kern, in "Jonathan Richman Rapscalion"


But the most revealing song was one I never heard. "And then soon came 50," he sang, "just like 1-2-3." Jonathan must be sick of being always described as boyish, innocent, naive, but he still wants to remain young at heart. "Why did we come down to earth if not to make mistakes?" he said. And it was his sincerity that communicated to the audience, which had become quite huge (and quiet) by the time he got to the song that elicited the biggest reaction, "Dancing in the Lesbian Bar." Standing up front, noticed a bunch of youngish, partly bearded faces suddenly appear stage left. It was the Shins, who had just finished their set at the White Stage and apparently rushed over to catch the end of Jonathan's set. They got a special treat: an encore. The audience just wouldn't let him go and he returned to do a heartbreaking version of "Not So Much to Be Loved As to Love." He obviously didn't want to go away. Every concert adds to his nostalgia. (read the rest here)

-- phil, in "Surrender to Jonathan - To be loved"


"Soon came 50, then 54 ... I'm not 19 anymore"

Jonathan Richman may admit his age, but that don't stop him singing about Girlfriends. It's innocence. (read the rest here)

-- donald, in "Jonathan Richman Perennially young"


Still, it was a gem of a performance. Jonathan played few complete songs, and the snippets of his hits, which included "Dancing at the Lesbian Bar" and "Egyptian Reggae," were often interrupted by sudden bursts of dancing and percussion playing, not to mention Jojo's bursts of physical sincerity, which is embodied by him dropping his guitar, opening his arms wide and raising his voice in a cappella ecstasy. He even did a bit of "Pablo Picasso," which was weird and special because he's famous for refusing to do anything from his electric Modern Lovers era. Maybe he'll do a longer version at his Heaven performance tomorrow. Despite the sound problems, the audience almost refused to let him go, and he tried to placate them with a few more shakes of the jingle bells and some Jonathan gestures. It wasn't enough, and never is. (read the rest here)

-- phil, in "Jonathan Sings! ...but is difficult to hear"


Fujirock Express '07 website