Rufus Wainwright and José González (Photos by Dan Moffat)

As I turned the corner out of Boston Common down Hamilton street, it felt like I’d stepped back in time into old Boston, with The Orpheum text gleaming on the marquee in Gatsby font. And then the new Boston: a crowd of people ahead of the entrance showing proof of negative COVID (test, vaccination card, or getting rapid tests). The personnel running the line were surprisingly efficient and upbeat, so my apprehension quickly subsided, and I got through the queue in no time. The magic of the theater drew me through the doors and it was on to the show.

First up was Swedish singer-songwriter José González, who is touring behind his latest album, Local Valley. He walked out in a smart black coat, slacks, and dress shoes, which seemed appropriate for the seated event. González sang while securely perched on a drum riser and behind a nylon string guitar. With 2016’s “With the Ink of a Ghost,” he kicked off his set, which bewildered the audience through the steady prowess in which he delivered his signature virtuosic instrumental (how does he play such a clear melody with his middle and ring picking fingers?) and hushed voice. González slowly deployed his subtle arrangements as the audience listened with rapt attention: a buildup from finger picking to strumming songs, use of a contact microphone (for a kick drum sound), and very trippy vocal effects.

González’ banter was minimal, but original. We got a story from earlier in the day about his venture into the Common where he saw a big bird that was chasing squirrels, and an intro to “Leaf Off/The Cave,” of which he said was “inspired by enlightenment and Plato’s cave.” The most talkative moment was near the end of the set, when he asked the audience if we wanted to hear a cover. He let us vote by voice between Nick Drake, Paul Simon, and Al Green. For a minute there I felt like I was at a particularly hostile Red Sox game as an old-fashioned Fenway Park-style shouting match ensued. In a flair of improvisation, González stood up and took off his black jacket in anticipation of announcing the winner, as he revealed a green and white patterned shirt underneath proclaiming, “It’s going to be Green!” and launched into “Let’s Stay Together.” 

My favorite moment came as soon as he kick-started “Crosses.” It was Tingles-Town for me, folks. He closed with “Tear Drop,” and then said goodbye as the seats continued to fill for the upcoming Wainwright performance, which José promised would bring him back to the stage.

Strutting into view with ruby red slippers, Rufus Wainwright immediately notched up the chat meter to a level 10, as he transported us into his world. He was accompanied by a backing band consisting of a guitar player, double bassist, and keyboardist. Mr. Wainwright talked profusely in between tunes, as he told us about his adoration for silent movie star Louise Brooks (who he joked about following on IG), not dedicating song to the previous administration, and about being conceived in the 1970s on Beacon Hill.

His opener was 2020’s Unfollow the Rules cut “Damsel in Distress.” His iconic vibrato rushed forth like a fountain, which he commanded with aplomb throughout the entirety of his set. He continued to feature tracks from the latest album Unfollow the Rules including “Peaceful Afternoon,” (which had some fantastic hand percussion happening on the double bass) and “You Ain’t Big.” “My Little You,” a song about his 10-year old daughter, is a short song, or as he described it, an “Amuse-bouche.”

Mid-set, José González returned to the stage to duet vocals with Wainwright on two covers. González lent a wonderful lower harmony to “Harvest” by Neil Young, backed only by a solo guitarist. Wainwright soared gloriously above in the higher harmony. It was the kind of unexpected moment when two unlikely and world-famous artists connect over someone else’s music. I need this recorded.

Wainwright closed out the night with more magic and ended his much-lauded encore with hit “Going To A Town,” and we clicked our heels back out into the Boston evening. There’s no place like home, or The Orpheum, with Rufus Wainwright and José González.