Museum/Performance Visit Report

With her live performance of Are You Alright?, Mama You Sweet, Unsuffer Me, Learning How To Live, Come On, Wrap My Head Around That, and Fancy Funeral, I could essentially point out suitable comparisons with Kath Bloom, Carole King, Courtney Love, and Kenia somewhere along the quality, tempo, and Lucinda’s way with her vocals. Coming from a background chiefly resigned with rhythm and blues, punk, and some influence of modern jazz, at first it seemed like I was drawing a blank and couldn’t grasp or make sense of the objective and persuasion that go with her type of music. Eventually, as I got myself to sincerely pay attention to the substance and its rhythm, I began to feel psychologically seduced to perceive how sensible it could get in relation to my own genre and environment of artistic inclinations. In the middle of the concert, I could say that I had yielded to an ‘acquired taste’ of her rare lyrical creation with which to ride along spontaneously. For a moment, while getting moderately moved at my seat some five meters from the overwhelmed stage, I was seriously enamored to anticipate every detail following the course of Williams’ singing Unsuffer Me. The justice done to this song conspicuously surpassed critical expectations based upon the delighted response I and the rest of the audience could not help expressing as if we were suddenly struck by an excruciating but meaningful realization of life. To me, it mostly came as a surprising attempt of reconstructing creativity with literary ballad that makes one suppose it can be patterned from the style in Annie Lennox, Dido or Alanis Morissette’s music to converge with an amount of solemnity Sarah Maclachlan is known for. Through her genius instrumental arrangement and choice of words and theme altogether, Lucinda managed to take me to the track of recognizing poetry in the social dimension of the song’s content beyond rhythmic exertion. The figurative aspect of Unsuffer Me is something that can be attributed to Bob Dylan’s rhetoric technique of putting across a warm and thoughtful mood with a mildly outrageous sentimental effect. In the majority of the aforementioned pieces played, there had been mixtures of country rock, ballad, and blues which sounded modern enough for perhaps a fraction of diverse culture in this age yet I feel they possess certain elements that are key to paying respect to the classical worth of their roots. L. Williams only had a few words to speak in between performances and her introduction of each song was so reserved that it was adequately justified by her light yet intellectually aggressive performance. As she strove to fulfill the concert’s aim of marketing the essence of West, it makes me wonder who among the contemporary artists under her category and influence would carry on the legacy or be challenged to at least enhance potentials by innovating to achieve the level of significance and quality Lucinda devotes for her composition to deserve as she sees fit. Hers is a kind of music which, in my understanding, does not instantly conform to being released without attaining the intended refinement of every consideration by the musician-artist. Williams’ original composition in her West album I think is capable of communicating

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