KEY POINTS:
Madeleine Peyroux's voice is a mix of Billie Holiday, Norah Jones and country queen Lucinda Williams. So it's quite something. On the other hand, her and her band's performance is lifeless.
My concert-going companion has an alternative - sit back, close your eyes and concentrate on the music rather than the stage show. But there's only so long you can do that until you nod off.
Usually at a jazz gig the audience gets a nod-on. You know, the head grooving in and out, the shoulders sashaying slightly from side to side, and fingertips tapping on thighs. But the part of the crowd we can see is a concrete slab.
It isn't all bad, because as was mentioned, Peyroux's vocals are often enchanting and the three-piece band are great players too, including a drummer with a deft touch (on the cymbals especially); a gripping and beefy upright bass player; and keyboard solos (on three different keyboards) galore.
There are highlights, like the pretty throb of Half the Perfect World, the title track to her latest album, and the cover of Tom Waits' Looking For the Heart of Saturday Night (also off that album), after both of which the band nod to each other in recognition of nailing the songs.
The thing is, they seem less than excited about what they're doing.
For example, the occasional Latino-tinged guitar of Peyroux's is proficient, yet not exactly heart-fluttering stuff.
It's not Rodrigo Y Gabriela, that's for sure, and she could use a little of the Mexican pair's vigour.
Okay, so her music is cruisy, dark and sometimes sexy, but where was the theatre? It's nice enough on the stereo at home yet live it needs some guts and energy.
Peyroux explained that they were coming to the end of their long tour - it showed.
Sorry, I don't care if it's the beginning, middle or end of your tour, pop a few Berocca and fizz a little.
Exquisite voice Madeleine, shame about the show.
