When a John Mayer song starts playing on my iPod, my immediate reaction is to hit "next." I went into Tuesday's concert with a similar mentality, expecting a weak performance of soft, mundane melodies. He surprised me, then, with his opening of "Heartbreak Warfare" - a song that embodies the overall impression given by his most recent album Battle Studies, a conflicted mood with a relaxed feel. I didn't particularly care for "Heartbreak Warfare" when I heard it on the radio because it reminds me of Mayer's sensitive, pop side, the one that he demonstrated on his initial release Room For Squares. Somehow, however, Mayer brings new life to this song when he performs it live, and I can say the same for every song he played Tuesday night. Infused with the energy of his band and the audience, Mayer broke out mad guitar chops accompanied by some odd-looking facial expressions, as he belted out his lyrics in a passionate frenzy.
Because Mayer's musical interests have led him to dabble in pop, rock and blues, the concert embodied an interesting unification of genres. Mayer was supported by Steve Jordan and Pino Palladino, former members of the John Mayer Trio. Their blues-inspired music showcased Mayer's ability to stretch himself, as he broke away from his sensitive pop/rock image created through songs like "Your Body is a Wonderland." Jordan broke out into an intense drum-solo prior to the group's performance of "Waiting on the World to Change," leaving the crowd in a mad uproar of awe-driven cheer. Other departures from his pop image included covers of The Police's "Message in a Bottle" and Bill Withers' "Ain't No Sunshine."
After the opening act of Michael Franti, during which he performed many of his songs on the floor with the audience and invited a number of fans on stage, I did not think the concert could become any more engaging. Though Mayer did not get on the floor with the audience - possibly in fear of not making it out alive - he actively engaged the crowd, making everyone feel that they were sharing an important experience. Mayer expressed sincerity, as well as some peculiar humor, that could only be expected from the guy who equated his time with Jessica Simpson as "sexual napalm." During one serious moment, he said he hoped the concert could serve be a cathartic experience for anyone going through a rough period in their life. A lighter moment came later, though, when he talked about his experience at the Downtown Mall, where he found 99 percent of Charlottesville's people to be beautiful. In a humorous twist, he addressed the next song, "Perfectly Lonely" to the other 1 percent. Mayer's rambling, comedic commentary left the audience laughing. But even considering some of the strange things that came out of the artist's mouth, it was refreshing to feel like Mayer actually was being himself.
He brought the event to a close with "Gravity," a song from his third and most celebrated album, Continuum. Toward the end of that performance, he got down on his knees, bending over his electric guitar to play an intense solo that lasted about four minutes and looked next-to-impossible, exemplifying how his guitar-playing prowess was the driving force behind his songs.
Mayer's encore consisted of the somewhat controversial "Who Says," in which he asks the question, "Who says I can't get high?" and the ever-popular "No Such Thing." The audience seemed to be in complete harmony, listening to Mayer as if there was nothing else going on in the world. When the lights came on, those enthralled listeners reawakened to the reality of the world and began the fight to push through the crowds. I relished the sensation of having my expectations turned upside down and left with a new appreciation for John Mayer. After seeing him live, I can say confidently that he is an unbelievable performer who sounds much better live than on his albums. And though I still may not be particularly fond of his studio-recorded music, I will from now on hesitate before I press "next" when he comes on my iPod.
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