By Joe Stahl
Photos by Catie Laffoon
Even on a Monday night, it came to no surprise that Banks’ show at The Paradise sold out. We couldn’t even get one of our AP photographers on the tight press list either, because the 26-year-old singer has become one of the most discussed artists of 2014. She’s been all over short lists by major music outlets that determine who to care about, or “watch out” for that’s new. When you take a step back to look at today’s musical landscape, Ms. Jillian Rose Banks’ appeal stands up tall: amidst the recent trend of neo-R&B/synth artists such as Jessie Ware, Quadron, and FKA twigs, Banks’ songs certainly find a place within this arena of music.
It also helps that she’s strikingly gorgeous, both in press photos and live on stage. For a little over an hour, the statuesque singer, clad in all black, captivated a crowd of mainly 18 to 24 year-olds: a devout bunch who sang along to nearly every song off her 2014 breakout LP ‘Goddess’ (Harvest). Her fans sang along to songs of emotional ambivalence, released only a little over a month ago, word-for-word. Whether she’s begging for sympathy, defending her actions, or blaming bad behavior of her own, her sense of self is as nebulous as her ill-defined race.
It didn’t take longer than one minute into ‘Before I Ever Met You,’ her first number of the evening, to shake off her poncho to a lace crop top. Sporting her high heels, Banks’ model strut/dance had grace, offering a Banks first-timer the impression she’s not so new to the live stage. “Please, give me one excuse… that I’m not a monster,” she sang in a shuttering falsetto, similar to the wavering of Fiona Apple’s high notes. It wasn’t until after ‘Alibi’ she addressed the crowd: “Boston…I love Boston.” In that tiny moment when the artist first talks to the crowd, the power of seeing them as just a person talking can disrupt an experience or perception. The SoCal-native was soon to turn away from the room after her curt introduction, and move right back into her set.
Pedalboard in place and backing vocals prerecorded, Banks had just one drummer and keyboardist-part-electric guitarist. Despite a room wild with enthusiasm for her, Banks’ confident and calm demeanor started to crack with compulsory wrist rolls and distracting tugs to her rising crop top. While never appearing excruciatingly uncomfortable, her introverted behavior and ticks became less of a concern when she let her songs take over inhibition. Her performances of songs like “Change” and “Na Na” (Trey Songz cover) demonstrated raw emotional release, and less concern for keeping up this “master of seduction” artifice. Her intense eye contact with the floor’s audience was palpable, even from a balcony view. Banks moved all around the stage (and at one point walked down onto the venue’s floor), effortlessly commanding of her fans to follow the rhythm to the heavily compressed bass lines felt pounding on your chest. The dark basement dance party atmosphere shifted mid-way through her set when she debuted ‘Someone New’ live. Breaking up, especially singing about one, is never easy. Half of the crowd used the opportunity to use the bathroom, grab a drink, talk to their date, whatever. The rest of the room was with her in her most revealing moment, singing along to what turned out to be the night’s anthem for the brokenhearted.
Before Banks carried into her last song of the night, she offered a grin of gratitude and affection for her fans and band. “…This is the most special show,” Banks told the crowd, with believable genuineness. But just as you start to see Banks let her guard down, a cheeky smirk emerged as she sang, “I know my disposition gets confusing…it’s why you want to come out and play with me” on ‘Beggin For Thread.’ Well put, Ms. Banks.
Set List:
01. “Before I Ever Met You”
02. “Alibi”
03. “This is What it Feels Like”
04. “Brain”
05. “Goddess”
06. “Fuck Em Only We Know”
07. “Someone New”
08. “Na Na” (Trey Songz cover)
09. “Change”
10. “And I Drove You Crazy”
11. “Drowning”
12. “Waiting Game”
13. “Beggin For Thread”
Encore
14. “Stick”