What a voice.
Deep, rich, creamy and full of emotion.
The next best thing to seeing Bowie in concert.
I want to move to Brazil. I want to learn Portuguese. I want to dress like a sailor in a funky red hat.
He’s given me an itch to learn his lovely language and to discover his original music and sing it in my deepest, velvety voice and to learn how to play some samba and play it on a hot Brazilian day.
All these thoughts coursed through my head at the end of his brilliant set.
His name is Seu Jorge and one day, he received a call by none other than Wes Anderson. The rest, as they say, is history.
Casually strolling on stage, cup of tea in hand, looking like he’d just walked into his living room – the absolute embodiment of “chill” – he launched into “Ziggy Stardust” and from the moment he opened his mouth for that opening cry, I was hooked. During a week when the only voice consuming my mind was that of Chris Cornell, he provided me with a welcome distraction and reminder that many other beautiful and different voices still grace us the world over. It proved a refreshing release and re-invigoration.
What’s more, Seu was full of casual banter. After the opener, he described the scene when he first got that famous phone call: playing PlayStation as his then-wife picked up the phone and nonchalantly answering Wes Anderson’s questions. “Yes I know Bowie”, “blond guy?”, “two different coloured eyes?”, “sometimes I confuse him with Billy Idol…”.
Had it not been for that single phone call, Seu Jorge’s renown may not have strayed so globally to such a teeming hive as Manchester. And so it came to be that Seu Jorge was cast as one of the crewmen in Team Zissou, the crew of Steve Zissou (longtime collaborator Bill Murray) in Wes Anderson’s The Life Aquatic with Steve Zissou. Playing a few Portuguese-language covers of David Bowie songs in the film itself, he then released a soundtrack with up to 15 of these covers. During the gig, stories of the shooting of the film were commonplace between some of the songs and he really got the crowd charmed and laughing cheerfully, and was given an enthusiastic response after each and every song.
After “Changes” and “Oh! You Pretty Things”, he revealed how tough it was to change the rock’n’roll songs of Bowie into the samba style he was used to and recounted how he pretended to Wes Anderson that he had his version of “Rebel Rebel” ready but needed 15 minutes to “concentrate” before filming the scene. Cue a mad rush for some inspiration.
And so it went on, performing “Rebel Rebel” before a really lively “Starman”, revealing the lyrics he sings were coined by a different Brazilian band. “Lady Stardust”, inspired by Cate Blanchett in the film, was followed by “Rock’n’roll Suicide” and then a terrific “Suffragette City” which stayed in my head long through the night. “Quicksand” and a “Space Oddity” dedicated to all those wearing hats ensued (he was dressed in his Team Zissou uniform from the film, as were members of the staff at the venue and a few in the audience had either brought their own red hats or bought them at the merch stand).
A thundering “Five Years” was of one the highlights: how he instils the songs with such power I’ll never know but in his hands they sometimes become even more potent in their stripped-down setting with where his voice truly shines with vigour, strength and emotion.
One last story to tell concerning David Bowie’s death and that of his father, a few days apart and how he was convinced by his ex-wife (the same one?) to do something in tribute to them and after mulling over it came up with the idea to tour and play these beautiful song to people around the world. And so he dedicated the next song to Manchester and those affected by the recent bombing.
A rousing “Life on Mars” was performed with soul, sweetness and feeling with a devastating final cry of the title lyrics, to a standing ovation and teary eyes from performer and audience members in every corner of the Albert Hall.
He finished with the simplest of elegances in “When I Live My Dreams”, gracefully acknowledging the crowd one last time before peacefully making his way offstage to leave us with minds appeased to watch him one more time in a special screening of Wes Anderson’s The Life Aquatic.
(Albert Hall, 25th of May 2017, Manchester, U.K.)