José González at Arlene Schnitzer Concert Hall

maxresdefault.jpgSomething about the smooth ambience of the old theatre set me into a mood of quite anticipation, a sort of eager hunger for the feast that was to be laid out for my ears that evening. The Arline Schnitzer hosted the Swiss born guitarist José González that evening, accompanied by “yMusic” a neo-classical sextet hailing from New York City. As the blank etheric canvas was set into place, yMusic painted the first colors of sound upon it with a fresh composition from the artist Son Lux. The beautiful organic pangs and croons of the instruments filled the auditorium with a gentle yet frivolous hushing effect leaving most in a state of reverie for the craftsmanship being displayed before them. Song after song yMusic guided the audience through a maze of imagination conjured up from many of their own originals to a final cover of Sufjan Stevens; yMusic left the floor open for their crown jewel of the evening, José González.

José quietly and gracefully entered the room with a demeanor that suited the sound of his consonant voice. A shaft of light spilled down upon his shoulders like an angel musing up transcendental feelings of a divine soliloquy. The music sprang out of his guitar filling the venue with the sweet sounds of an introspective yet carefully crafted voice. Song after song, González continued to feed the crowd with pleasurable musings of soulful lyrics accompanied by the ever-graceful sextet, yMusic. What really set this performance apart from González’s others was the fact that there were no percussive instruments to drive a real rhythm throughout the music; it gave the music a whole different flavor, a sweeter more aromatic sound that was as pleasing as ever to the listener.