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I've been to some interesting music venues in my time - the church setting of the Union Chapel being one that immediately springs to mind - and now I have another to add to the list. With crystal-laden chandeliers hanging from the ceiling, Bush Hall, the latest setting on American singer-songwriter Jason Mraz's whistle-stop tour of Britain, had the appearance of a room in Buckingham Palace.
Alas, the Queen was no-where to be seen. Instead just a youthful audience many of whom, like me, had first heard Mraz display his talents as support for Tracy Chapman earlier this year at the Royal Albert Hall. Sitting cross-legged on the floor it was just like being in assembly at school all over again, although these "hymns" were just a bit better than Kum Ba Yah and the cringing renditions of With A Little Help From My Friends I remembered from Chapel End Junior!
A huge cheer greeted Mraz, sporting a fetching woolly hat, as he emerged from behind a big white door to the right of the stage. But no sooner had he arrived than he disappeared again, realising he had forgotten an implement for his guitar.
On his return, fully equipped this time, he began as he meant to go on - his great, soulful voice shining through from the off. Midway through the opener he was joined on stage by Barry White look-a-like and percussionist extraordinaire Toca Rivera and Ian Sheridan on acoustic bass, who had a remarkable likeness to Ben Affleck (a new start after J-Lo perhaps?).
Many singer/songwriters are accused by some of being boring, however this is an accusation that could never be pinned on Mraz. He breaks the mould usually associated with acoustic balladeers, incorporating soul, hip-hop, reggae, jazz and Latino influences into his repertoire of songs. And what a repertoire, as he reeled off countless tunes not even included on his debut album, Waiting For My Rocket To Come.
The Californian has a tendency to steal bits of other people's songs and incorporate them into extended improvised versions of his own stuff. Madness' Our House was given the full crowd participation treatment whilst glimpses of Bob Marley's Three Little Birds and Maneater by Hall and Oates were also heard.
All of this was part of the general laid-back feeling, exuding in both Mraz's music and his general demeanour on stage. He seemed totally at ease with the audience, telling many amusing tales and jokes, as well as playing anything he felt like playing at that time. It appeared that he literally did not have a set-list of songs in mind and was making it up at he went along, taking requests throughout the evening.
Melodic album favourites such as You and I Both and Curbside Prophet gave the audience plenty to be happy about although surely the highlight of the whole performance was Mraz's voice itself. He truly uses it as an extra instrument, offering plenty of vocal gymnastics in the mix. If there is a better voice around at the moment I don't think I have heard it.
After sitting in a variety of positions on the floor for two hours it came as a great relief when everyone stood for the encore - another previously unheard gem - but a sore bum was small price to pay for this great entertainer. If talent is anything to go by you should be hearing a lot more of Jason Mraz.
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