Concert review: Robyn Hitchcock at Murmrr

On November 21, Robyn Hitchcock performed two sets at Murmrr, a Brooklyn synagogue which periodically programs cutting-edge folk and rock. The show was originally meant to be a double bill with Tanya Donnelly (Throwing Muses, The Breeders, Belly) opening, but for reasons unclear, she was unable to appear. Though Donnelly was missed, fans of Hitchcock were able to enjoy even more of his psychedelic brilliance than originally anticipated.

Hitchcock’s sets featured material that spanned the course of his career with works from his solo acoustic albums as well as tunes recorded with The Soft Boys and The Egyptians.

Murmrr is a magical place to see live music. Aesthetically, it lends itself perfectly as a concert venue with downward sloping floors that give the audience a perfect view of the stage while stained glass windows are illuminated by gently shifting back lighting that pulses with a variety of kaleidoscopic colors. The sound was generally quite good, though a bit tinny at times. Hitchcock humorously requested adjustments from the tech throughout the set: “Justin, if you could make my voice sound like something between David Crosby and John Lennon, that would be great.”

Due to the superlative nature of the show, it’s hard to point out highlights, but Justin did his best and helped Hitchcock achieve real magic on “Chinese Bones.” Stripped of its ‘80s production, here it was remade with enhanced slap back delay that reverberated hypnotically throughout the hall. At the beginning of the second set, Hitchcock descended from the stage to play the house piano on the rarely performed “The Man Who Invented Himself” from his first solo album Black Snake Diamond Role and “Flavour of the Night”, providing a refreshing departure from his typically guitar dominated live repertoire and a glimpse into the man’s many musical talents.  

Hitchcock periodically takes requests and gladly performed the hilarious “The Cheese Alarm.” In person, he is quite funny, frequently dispensing impromptu, surreal witticisms that could only come from his singular brain wave. 

Other stellar numbers included “Cynthia Mask” and the mournful “She Doesn’t Exist.” He was joined by his partner Emma Swift for the last six songs including the literary “Virginia Woolf” from his most recent album, followed by the eerie “Glass Hotel.” 

Hitchcock often employs open tunings, which help him achieve the drone notes that give so much of his music a psychedelic quality. Swift provided stunning harmonies and helped elevate his set to higher heights. Together they closed out the show with lovely renditions of Dylan’s “Just Like A Woman” and “Visions of Johanna,” whose dreamlike images are a clear influence.

Hitchcock and Swift were available to meet and greet, signing CDs, vinyl albums, posters, and other merchandise in the lobby. Their superb performance and accessibility combined with the acoustics and ambiance of Murmrr made for a top-notch experience. 

For more information on upcoming shows, see murmrr.com