JOAN AS POLICE WOMAN – ST. GEORGE’S CHURCH, BRIGHTON 10.10.24
Joan Wasser, the American singer-songwriter and producer has been releasing music as ‘Joan As Police Woman’ for two decades. Over the course of this encarnacion Wasser has released ten studio albums, one EP, countless singles and two cover albums. Wasser continues to regularly collaborate with contemporaries as a writer, performer and arranger.
Wasser began a now three decade career playing violin with ‘the Dambuilders’. While with them, Wasser developed her role, adding guitar, keyboards, singing vocals and co-writing credits for tracks on the ‘Against The Stars’ album. Wasser relocated to Brooklyn in 1996. In 1997 the group disbanded. Wassers rising reputation and work with the group led to outside projects with groups. These included, ‘Black Beetle’, formed with the remaining members of her former friend and lover Jeff Buckley’s band, ‘Those Bastard Souls’. Buckley’s untimely demise left Wasser unable to grieve and traumatised. Forging forward Wasser joinged ‘Anthony and the Johnsons’ as a violinist in 1999. Eventually becoming a full time member of the band she contributed to their Mercury prize winning album ‘I Am A Bird Now’.
The end of Black Beetle in ’02 singled the the start of the Wasser developing the new solo project we have come to know ‘Joan As Police Woman’, (named in homage to the star of the ‘70s TV show ‘Police Woman’ Angie Dickinson).
Self-releasing their first five-track eponymous EP in ‘04. Meanwhile Wasser joined Rufus Wainwright’s tour on vocals and strings and later the same year as violinist on Joseph Arthurs tour. ‘Real Life’ the groups first full-length debut, UK release came two years later.
The venue for the evening was St George’s Church, Brighton. The Anglican Church has been operating as a live music and events space for over fifteen years now. Over this time it has gained an enviable reputation as one of the largest spaces in Brighton hosting the best of alternative and folk music. St. George’s is not only a beautiful venue, but it’s also deeply atmospheric lending its unique charm to performers. The Brighton based promoter Melting Vinyl, our hosts for the night have been booking live music at the venue for over a decade. Their roster also includes Martha Wainwright. Devendra Banhard and Richard Dawson.
The 2024 album ‘Lemons, Limes And Orchids’ is the first project since 2021 release, ‘The Solution Is Restless’ which received in plaudits from Radiohead’s Thom Yorke, and an invitation to play 2022’s ‘All Points East’ festival with Nick Cave and the Bad Seeds. The new album features production and instrumentation from and extensive list of collaborators including legendary and GRAMMY-Award winning Meshell Ndegeocello on bass, Chris Bruce (Seal, Trevor Horn, Alanis Morisette) on guitar, Daniel Mintseris (St. Vincent, David Byrne, Elvis Costello & The Imposters) on keys, and Parker Kindred (Jeff Buckley, Liam Gallagher) and Otto Hauser alternating on drums.
The audience applauded when Joan Wasser appeared behind bandmates Will Graefe (guitar, backing vocals) and Jeremy Gustin (drums, percussion). The three making the night’s lineup for Wasser’s on-going project Joan As Police Woman.
Once on stage, Joan took her place standing behind her double keyboard set up as the band opened the set with the first of two new songs, ‘The Dream’.
The sound within the Church was as crisp as always. Joan, positioned front and centre, took command of the stage and venue. Gustin and Graefe added soft beats and tones as the track opened with Joan’s vocal. When the outro of the track dissipated, the seated audience erupted into applause. As it continued, the applause and adoration for Joan and her band would grow increasingly intense.
Thanking them, Joan paused momentarily to tell them it was “So good to be here. How are you?” The crowd answered in the affirmative, their applause ringing out with enthusiasm. Smiling, Joan responded, “That sounds good!” before segueing into ‘Full-Time Heist’, the second track from the new album. The venue softened as the set moved into the more downtempo track.
The song opened with Joan’s unaccompanied vocal as she sat behind the piano, playing in a stripped-back style as she sang. Gustin’s drums joined, offering a soft tap of the sticks. Graefe’s backing vocals crept in on the chorus’s title repetition, the collective effect conjuring a distinct feel of an early morning dawn. The drumsticks tapped like a metronome. It was a calm, smooth start to the set. The new album’s tracks evoked a sense of familiarity right away. Next on the setlist was ‘Warning Bell’, from 2018’s ‘Damned Devotion’. The song’s unmistakable intro played as Joan’s vocals swooped over the first few keys.
Joan’s lyricism never fails to pierce the heart of emotion. ‘Warning Bell’ is one of the many tracks that can’t fail to resonate deep in the muscles and bones of a listener. The execution seemed simple. Yet, it recalled those who catch the heart unprepared. This is one aspect that adds to the band’s allure. Her songs stir old emotions and memories with a deft sleight of hand. Each track resonates uniquely with every listener. It creates a shared experience that transports the audience. Three decades of perfecting her craft make any performance from her a joy to experience from start to finish. Ever the gracious performer, Joan thanked the audience again for their effusive applause.
‘Remember The Voice’ returned to the new album. So much new material in a set would have been a foolhardy move for other artists. However, Joan’s vision and voice are so strong that all the latest tracks resonate with the same power as the old. The new album is lighter than the older material. Experience and talent have softened the composition and delivery of the lyrics. They still pack the same punch. ‘Long For Ruin’ delivered a guitar hook that wove under the skin from head to toe. The audience, who mainly had sat enraptured in adoration, began tapping their feet and swaying their heads to the music. The movement spread through the Church and the pews like wildfire. It took over the venue until applause broke the spell.
‘Started Off Free’ opened with Joan on piano and Graefe playing a Spanish-style riff. Joan’s vocal dexterity proceeded to oscillate octaves throughout the venue. The group stripped back their sound from the album version. Making use of the venue’s acoustics. Guitar and very soft percussion accompanied Joan’s soaring, swooping vocals. The song slowed to silence. Then, the audience erupted in applause. Joan waited a little and then said, “I have to take a moment to get over how beautiful they just played that song… woo… My God?!… I have to sing still after that?” Overwhelmed by the talent of her fellow musicians, Joan took a moment to gather herself. Continuing, “We’re doing this in two halves, with a break for mingling in the middle and whatever else you want to do. Hmm, am I together enough?” Her bandmates assured her she was. Without pause to consider further, Joan dove into the back catalogue to the classic ‘Hard White Wall’. The track’s direct approach to its message pulls no punches, making it a firm favourite among many fans. It also moves through pace and style so quickly that it sweeps the listener through the track. Yet again, there was no pause jumping from one fan favourite to another with ‘Tell Me’.
The first half was bookended with the title track from the new album. Joan then asked to lower the lights. “This next track is a little track from my next album; it’s very moody.” She asked if a tech was in the venue to lower the lights. She enquired about the tech’s name when they were dimmed without a vocal response. On the eventual response of “Matt”, there was a short debate about how many people named Matt were working on the tour. The track was ‘Lemons, Limes, And Orchids’. The delivery was a masterclass in songwriting, arrangement, and stagecraft. The track left you pondering what happened on the West Side, yet you knew the answer deep down.
The second half of the second set started on time. “Did you have fun?” asked Joan. “We missed you”, trilled an audience member; Joan responded, “I missed you too! Did you meet any people?” “YES!” an affirmative collective response resounded. “Good”. Joan said, “It did what it was supposed to do.”
The band opened with ‘Back Again’, the new album’s third track. The track set a more uptempo tone for the night’s second half before an abrupt outro. Next up, ‘Flushed Chest’ continued the uplift of the second half with subtlety. After the outro, Joan waited for the applause to end. Then she exclaimed, “It’s so fun to sing with these guys!” with a broad smile beaming at Graefe and Gustin. “I say to them, ‘Can we try this out?’, and they look at each other and then say, ‘Yes we can!” pausing before continuing, “And oh my God, it sounds incredible!” Graefe responded, “You’ve made me sing notes I didn’t think I could ever reach!”. Joan responded with a playful tone, “Coming from a man, I mean, that’s all you wanna hear?!!” Before second-guessing her statement, “I, I, I’m sorry, I think that might be sexual harassment?” a laughing Graefe replied, “I’ll complain to HR…I think you are HR?!” The lighthearted camaraderie added to the night. The three bandmates not only respect each other’s talents, they clearly find great enjoyment in playing together.
‘Valid Jagger’ returned to a calmer mood, finishing on a solo vocal. Each song continued to draw applause that grew in intensity with every successive track. By now, the audience added to their applause by hammering their feet on the wooden floor. That usually happens only when it’s time to ‘lure’ the artist out for an encore.
‘The Ride’ maintained the soft calm for a bit longer. ‘Oh Joan’, another new track, opened with a muted dance/electronic feel, further underscored by Joan’s keys and the softness of brushes on the drums. When the applause broke, Joan spoke, “Thank you for supporting live music and being here with us,” resulting in more applause.
For ‘Eternal Flame’, the band chose the same arrangement used at London’s Union Chapel the night before. This move pleased the audience and was a perfect fit for the venue. The band returned to older and familiar fare with ‘The Magic’ and ‘Chemmie’ to close the second half. After a false start, Joan exclaimed, “Sorry, I can’t hear myself.” After righting herself, she continued, “Thank you for living through that with me. It was a great joy,” she said sarcastically. “As a violin player who is obsessed with being in tune, Thank you”. Disaster averted, the band went straight into ‘The Magic’. Graefe and Gustin, consummate professionals, perfectly complemented Joan in both sets. At this point, they came into their own. At the song’s finish, the applause threatened to drown out anything else in the venue. Appearing slightly overwhelmed, Joan raised her voice to be heard. “BRIGHTON! Thank you so much for being here tonight!”
Before the next track, ‘Chemmie’, Joan thanked each team member by name. The audience applauded each one. At the end of the roll call, Joan said, “… and Anna, our beautiful promoter. Anna, who keeps on bringing us back here”. Joan smiled broadly. “Thank you! I adore playing for you. This is our last song… you know how it goes”. The band played the track as if it were the night’s final song, building and building the fan favourite on the outro. As the sound dissipated, the beaming smile on Joan’s face said it all.
The real encore followed a very short break backstage. The band finished the night with ‘Real Life’ and ‘Tribute To Holding On’. The band showed no sign of lagging. Their skill and delicacy on both tracks left the audience enrapt. Many stood stock still mesmerised. Joan spoke as the final track’s notes played out: “Thank you again for being here; it’s a great pleasure”. The audience’s joyful enthusiasm throughout the night showed they felt the same.
Joan As Police Woman:
Joan Wasser – vocals, piano, keyboard, guitar
Will Graefe – guitar, backing vocals
Jeremy Gustin – drums
Joan As Police Woman setlist:
1st set: 20.00 – 20.45
‘The Dream’ (from 2024 ‘Lemons, Limes And Orchids’ album)
‘Full-Time Heist’ (from 2024 ‘Lemons, Limes And Orchids’ album)
‘Warning Bell’ (from 2018 ‘Damned Devotion’ album)
‘Remember The Voice’ (from 2024 ‘Lemons, Limes And Orchids’ album)
‘Long For Ruin’ (from 2024 ‘Lemons, Limes And Orchids’ album)
‘Started Off Free’ (from 2024 ‘Lemons, Limes And Orchids’ album)
‘Hard White Wall’ (from 2008 ‘To Survive’ album)
‘Tell Me’ (from 2018 ‘Damned Devotion’ album)
‘Lemons, Limes And Orchid’s’ (from 2024 ‘Lemons, Limes And Orchids’ album)
Interval
2nd set: 21.15 – Close
‘Back Again’ (from 2024 ‘Lemons, Limes And Orchids’ album)
‘Flushed Chest’ (from 2006 ‘Real Life’ album)
‘Valid Jagger’ (from 2018 ‘Damned Devotion’ album)
‘The Ride’ (from 2006 ‘Real Life’ album)
‘Oh Joan’ (from 2024 ‘Lemons, Limes And Orchids’ album)
‘Eternal Flame’ (from 2006 ‘Real Life’ album)
‘The Magic’ (from 2011 ‘The Deep Field’ album)
‘Chemmie’ (from 2011 ‘The Deep Field’ album)
(encore)
‘Real Life’ (from 2006 ‘Real Life’ album)
‘Tribute To Holding On’ (from 2024 ‘Lemons, Limes And Orchids’ album)
