Sharon Van Etten
At the Drake Hotel Underground in Toronto on Tuesday
“I have to remind myself that people are watching me sometimes.” More than ever, fans are attracted to Sharon Van Etten, the Brooklyn-based singer-songwriter who rocked folk-like and presented romantic concern in Toronto. She sang in a nuanced, expressive style, her lyrics more confessional than stoic. Her fluid, dusky soprano is strong and breathy at once. And if she sometimes delivered her words with spite, a sense of fragility never completely disappeared.
In between songs, Van Etten’s tears magically dried, her mood suddenly chirpy and effervescent. We learned that she was embarrassed by a hole in her black tights, but that she was thrilled with the numerous pockets of the plain dress she wore over them. The guest harmony singer Julie Fader was quite pregnant, and, we were told, another friend of Van Etten’s in the devoted crowd was also with child. “I guess I’m a little behind there,” said the 30-year-old, presumably not a mother.
All to say that this doe-eyed artist was comfortable on stage, outside of song and within, her cozy flock of cotton-clad young women and their sensitive men appropriately charmed.
“They’re teaching me how to rock out,” Van Etten explained, introducing her drummer and her bass player. And she does rock, in a neo-folk way: On Peace Signs, from last year’s Epic EP, Van Etten strummed her red semi-acoustic Gibson instrument in an insistent, jangly manner.
One Day had a languid tuneful feel, with Fader’s harmonies slotting underneath the main attraction’s feathery croon. It’s a memorable, listenable song – envision an indie-music Sarah McLachlan – that might have been a radio hit at one time. Supple-voiced singer-songwriter comparisons to Van Etten would include Alela Diane, Jessica Lea Mayfield or Canadians Basia Bulat and Jenn Grant.
Van Etten’s sorrow showed on For You, a dreamy, plaintive number from her 2009 album Because I Was in Love. “I do, I do,” she sang almost wearily, about a marriage vow that never happened, “I do wait for you.”
Her humming harmonium – a squeezebox, to some – was used to poignant effect on Love More, a droning, haunting ballad. An encore included a heartfelt cover of Blaze Foley’s Texas tear-jerker Oooh Love, which kept the gender of the original – “She’s got my heart in her hands” and all of its love-struck sentiment.
At one point, Van Etten thanked the crowd and said appreciative things about the venue, adding that she hoped to come back. As nice as the Drake’s Underground room is, no artist should wish to return. It’s a small showcase place, for breaking the ice.
Van Etten, who is currently working on an album with the National’s Aaron Dessner, appears ready for bigger things. But who’s to say? Ambition and talent aren’t enough; indie It girls are a dime a marvellous dozen. Epic is the name of her latest release, and perhaps it describes her pop dreams. We watch and wait.
