With the lineup weighted toward solo singer-songwriters (only two of the evening's seven acts used a drummer), the 12th annual Gimme Shelter benefit show at the Roxy was a gently low-key affair. Given that all the performers donated their time, with the proceeds going to the H.E.L.P. Group, a nonprofit org for special needs children, it's hard not to feel like a Scrooge when reporting that the three-hour evening was almost too gentle, a procession of folk-rockers melting into one another with a lulling earnestness.
Charlotte Martin is an attractive newcomer with an album due from RCA early next year. Her material presents a less eccentric Fiona Apple, comfortable with both Tin Pan Alley-influenced patter numbers (the amusing "I'm Normal, Please Date Me") and pounding, Elton John pop ("One Girl Army").
With his band playing a headlining gig a few blocks south at the Troubadour, Starsailor's James Walsh took the stage alone. Accompanied only by his guitar, his Jeff Buckley-influenced vocals came off as somewhat mannered. Original material such as "Alcoholic" wanted to be emotionally devastating, but fell short of ambitions. Better was a medley of Ryan Adams' "16 Days" and Elton John's "Rocket Man."
Frank Black was a game, last minute substitute for Jon Brion, who was unable to make the show due to scheduling problems. The former Pixies front man played a loose-knit set of potted folk, with gleeful tunes about singing shrimp, motorcycle accidents and a cover of Tom Waits' "Black Rider." Glenn Phillips, late of Toad the Wet Sprocket, followed with an amiable performance.
Backed by slinky rhythm section, Joe Henry's sophisticated, coolly jazz-inflected tunes should have stood out in this crowd. But his restrained performance failed to connect.
John Mayer, who was recently reviewed in these pages, had no such problem; he was clearly the audience favorite. Near constant touring has refined his brawny heartland rock and aw-shucks stage presence into an impressive package. He is a performer to watch in 2002.
A good deal of the crowd left after Mayer's set, and too bad for them. They missed the most impressive music of the evening. John Doe, backed by a keyboardist and Larry Taylor on bass, used his slot to preview new material. The X-leader has moved to a kind of jazzy folk; both the material and his lilting deliberate vocals recall the best of Phil Ochs. Mingling memories and the myth of the American road, tunes such as "Highway 5" are an intriguing new direction for this legendary Los Angeles artist.
Variety.com - 10th December