SUFJAN STEVENS live at Prospect Park. Brooklyn NY. 8/2-3/11

(“Seven Swans” - August 3rd)

Brooklyn-based singer/songwriter Sufjan Stevens closed his Age of Adz tour on Tuesday and Wednesday with two back-to-back shows in Brooklyn’s Prospect Park, a place that he affectionately referred to as his “own backyard.” As a whole, the lengthy world tour was orchestrated behind Sufjan’s 2010 release The Age of Adz — less as a traditional way of promoting the album than as an extension of the album itself. 

Never one to be called unambitious, Sufjan Stevens shocked fans all over the world when The Age of Adz was released last year. The album’s harsh, occasionally dissonant electronic squalls, thumping beats, and manipulated vocals made for a disorienting and potentially uncomfortable listening experience. Similarly, Sufjan’s change in lyrical tone and voice was perhaps even more jarring, as he exchanged wordy literary and historical references for much more personal and inwardly-focused songwriting.

As difficult as that album was, its brilliant concept was rewarding to those who could appreciate its challenging musical exterior. While I personally found The Age of Adz to be a fantastic record, even the most ambitious albums are often bound by the limitations of the format. After witnessing not one, but two Age of Adz shows in as many days, it is clear to me that Sufjan was wholly aware of this. In terms of sheer scope, The Age of Adz tour was even greater than the album itself. Between the tour and the album itself, nothing was lost and all of the unrealized potential that The Age of Adz had as a record became fully realized in the context of live performance.

In an effort to illustrate how dramatic his artistic evolution that had taken place over the past five years was, Sufjan and his band took the stage shrouded by a translucent screen. Wearing enormous white feathered wings and tenderly holding a banjo, the instrument that had often been the centerpiece of previous Sufjan Stevens releases, he began playing “Seven Swans”, the title track from his most stripped down, minimalistic folk album of the same name. Against the backdrop of the setting Brooklyn sun (and, on the second day, the cold Brooklyn rain) his majestic wings, whisper-thin vocals, and gentle banjo plucks silenced the crowd all but completely. I think my jaw hit the floor when the full band began to play, transforming the gentle piano break that appears on the studio version of “Seven Swans” into a massive, anthemic din. Everybody could tell that we were in for something special, but I doubt anyone had much of an idea of what was in store. At the song’s amplified, gigantic sounding climax, Sufjan similarly wing-ed backup vocalists sounded like a heavenly choir, rising above the cacophony being produced in front of them. In one final moment of symbolic evolution, Sufjan threw his banjo across the stage, shed his swan wings, and pounded his hands down on the Prophet 8 synthesizer that stood elegantly on a crystalline pedestal in front of him. This was, of course, the instrument with which he crafted The Age of Adz. This gloriously unsubtle symbolic statement was brilliant nonetheless, and I would be surprised if there was a single person in the park on either night who didn’t experience the overwhelming chills that overtook me at the end of that song. After a brief thank you and introduction, the band launched into the electronified beat-pop of “Too Much”. 

(“Too Much” - August 3rd)

Sufjan explained the concept of The Age of Adz at length during both shows, but he almost didn’t need to. Combined with stunning visual imagery in the form of lights, projected images and video, neon tape, and extravagant costumes, the music spoke mostly for itself. Of course, describing the combination of the show’s visuals and music here would be more unnecessary, so I’ll just reiterate his description here. He introduced the show, and thus, the album, as an exploration of the mind, body, movement, and space (“both inner and outer”, as he said). He credited the sign painter, folk artist, and self-proclaimed prophet Royal Robertson throughout the show with being the inspiration for much of The Age of Adz, using animated versions of a lot of his artwork during performances of “Get Real Get Right”, which he dedicated to Robertson, and various other songs throughout both shows. Apparently, Robertson’s story and art inspired Sufjan and led him out of a dark period of creative uncertainty which must have transpired at some point in the five years between his last proper release, 2005’s Illinois, and The Age of Adz and its complementary All Delighted People EP, from which he performed a couple tracks as well. This was all expressed on the album as well, but it seemed a lot more clear and inspired in the live setting.

At multiple points during the shows, it was apparent that Sufjan’s creative vision had extended far past the album. During the performance of “Vesuvius”, a projected fire raged on the screen behind the band while the backup singers sang directly to their bandleader, “Sufjan, follow your heart.” Even in somber moments such as the harmony-laden “Now That I’m Older”, the visual accoutrements supported lyrical statements. “The silent man comes down / All dressed in radiant colors / You see it for yourself”, he sang, effectively capturing the entire show’s concept in a single statement. 

(“Now That I’m Older” - August 3rd)

As great as the concept of the two shows was, it could not have been executed as well as it was without a stellar band. During the second show, Sufjan publicly thanked his band profusely, acknowledging that the Age of Adz music was “brutal” to play. There were at least 15 people onstage contributing to the sound, which swelled and subsided throughout the show, sometimes at seemingly random points in the middle of certain songs. The musicianship on “Age of Adz” was especially admirable, with the band’s two drummers working in tandem with the winds and brass sections to produce an encapsulating sound during the song’s introduction and chorus. Furthermore, the band members and their instruments were decked out in shiny neon tape. At the center of it all were Sufjan Stevens’ vocals and the Prophet 8, mixed beautifully by whoever was in charge of the sound both nights.

Still, with all of the electronic mania that constituted the majority of both shows, some of the most touching moments were also the most simple. Excluding the dark take on “Seven Swans”, Sufjan performed a couple of intimate folk songs in each show. One of the major differences between the two shows came in the form of those folk songs. The first night, he contrasted the heaviness of “Age of Adz” with a performance of the gentle All Delighted People cut “Heirloom”, one of my favorite tracks on the EP. The next night, his guitar was out of tune, so he performed a folk song later in the set, instead choosing the sadder “Enchanting Ghost” from the same EP. 

(“Heirloom” - August 2nd)

I have heard Sufjan talk about how it was a conscious decision to “bookend” The Age of Adz with two folk songs, and it seems like that influenced his setlist decisions for these two shows. Instead of bookending the whole show with folk songs, he instead surrounded The Age of Adz-centerpiece “Impossible Soul” with them. Before embarking on that 25+ minute sonic journey, he played the heartfelt Age of Adz opener “Futile Devices”, which included an improvised Casio solo from his keyboardist. He closed the show with “Pleasure Principle”, the final movement of “Impossible Soul” that served as the calm after the storm both on record and also at the show.

I wish I could talk more about “Impossible Soul”, but none of my praises or descriptions could really do it justice. All I can say is that it was about as theatrical and extravagant as anything I’ve ever seen, but it still managed to work and make sense because it was all very genuine and heartfelt. For his auto-tuned solo, Sufjan put on a robot hat and wore a half-disco ball on his chest and… well, just look at the picture.

(“Impossible Soul” - August 3rd)

Then he ran away for an instrumental break, only to return along with his spandex-clad dancers wearing a gigantic suit made out of balloons. The resulting singalong party was seriously mind-blowing, and probably the most fun I’ve had all summer. There were giant balloons flying around everywhere, along with Neon-tape covered inflatable tube men, and everybody was just going crazy. Those 20-ish minutes flew by in a heartbeat, and soon enough, the crowd had calmed and Sufjan was singing “Pleasure Principle”, still wearing his balloons. The second night, “Impossible Soul” was even better, as the rain started to pour during the most upbeat part of the song and not a single person cared at all. 

(“Impossible Soul” - August 3rd)

(“Impossible Soul” - August 3rd)

(“Impossible Soul” - August 2nd)

Sufjan and the band left the stage after that, only to return soon thereafter for an encore performance. As if to appease those fans in the crowd who may not have been as interested in the new creative direction, Sufjan came out with his winds section first to play “Concerning The UFO Sighting Near Highland, Illinois”, the opening track on Illinois, which sounded beautiful. Sufjan’s falsetto when he sang “Then to Lebanon, oh god” instantly brought me back to the first time I heard Illinois, and nearly made me cry. On the first night, Sufjan then performed “Casimir Pulaski Day”, also from Illinois, which ended with a “Hey Jude” style singalong from the crowd that was very moving. The next night, Sufjan performed “The Dress Looks Nice On You” instead, an understated cut from Seven Swans that was great to hear if not as powerful as the devastating “Casimir Pulaski Day”. 

Of course, we all knew what the last encore song would be. Finally hearing “Chicago” live after all these years (It was among the very first songs that really got me into independent music) was wonderfully nostalgic, and hearing it again the next night was even better. Singing my heart out with the entire crowd as rain poured and we all got soaking wet was simply an unforgettable moment for me, and certainly one of the highlights of my lifetime experiences as a music fan. Sufjan spent most of the time singing it while standing on top of the piano, directing the audience and pushing the enormous beach balls that had appeared out of no where out of the way. 

(“Chicago” - August 3rd)

Overall, by the end of the two shows, I felt moved and changed. I felt inspired and intimidated. Most of all, I felt a renewed belief in Sufjan Stevens’ genius, and if you weren’t at these shows, I honestly don’t care what you think of that statement. Collectively, these were the best shows I have ever seen. Both had their ups and downs, including Sufjan forgetting lyrics during some songs on the second night, but they balanced each other out to make a truly perfect two-night event. The Age of Adz may be over, but I’ll be sure to follow Sufjan Stevens wherever he goes next with the heart and mind of a totally obnoxious and annoying fanboy. Nothing can stop me.

Setlist - 8/2/11

• 1. Seven Swans
• 2. Too Much
• 3. Age of Adz
• 4. Heirloom
• 5. I Walked
• 6. Now That I’m Older
• 7. Get Real Get Right
• 8. Vesuvius
• 9. I Want To Be Well
• 10. Futile Devices
• 11. Impossible Soul
• 12. Concerning The UFO Sighting Near Highland, Illinois… (Encore)
• 13. Casimir Pulaski Day (Encore)
• 14. Chicago (Encore)

Setlist - 8/3/11

• 1. Seven Swans
• 2. Too Much
• 3. Age of Adz
• 4. I Walked
• 5. Now That I’m Older
• 6. Get Real Get Right
• 7. Enchanting Ghost
• 8. Vesuvius
• 9. I Want To Be Well
• 10. Futile Devices
• 11. Impossible Soul
• 12. Concerning The UFO Sighting Near Highland, Illinois… (Encore)
• 13. The Dress Looks Nice On You (Encore)
• 14. Chicago (Encore)

Together, a 10/10.