No one expected a flashy set from Julie Byrne. It was anticipated from the beginning that the singer-songwriter would likely be alone on stage at Jazzhouse with her guitar. That she is joined by Taryn Miller of Your Friend on synths is already more activity than could be anticipated.
And yet Byrne is totally captivating. It’s not only that Jazzhouse is the perfect room for her voice; that it resonates over the packed audience is the most immediate selling point. It’s that Byrne herself is a striking presence. She’s swamped in a white robe that pools around her as she remains seated through her performance. She holds herself with a composure that emanates out from her being. Even while she’s singing, the room is quiet enough that you can clearly hear every time Miller hits a pedal.
The addition of Miller and their Korg synthesizer can’t be undervalued. There are a few moments of loud electronic noise washing over the room, but mostly the additional instrumentation is very understated, mimicking flutes or pedal steel in an intuitive, complementary way. Even just watching Miller as they shake their head enthusiastically while Bryne sings is such an endearing display of their rapport.
Miller helps to bring out a goofiness in Byrne that offsets some of her earnest New Age-y vibes. Bryne talks a lot about energies in the room and offering songs as prayers — if this had been a seated performance for the audience, I would have happily sat through a guided meditation with her. But then Byrne follows up the explanation that “Melting Grid” is about taking a risk at leaving a job for the sake of your spirit with a mad little “la la la” before singing the song. It’s a charming, off-script unpredictability that draws you in every bit as much as the songs.
Photo by Morten Aagaard Krogh