As the house lights dimmed, the intimately packed room went silent in anticipation for the show ahead. Julia Jacklin, an Australian singer-songwriter announced a tour supporting her most recent album The Gem in June of this year. I had the privilege of attending her show at the Brooklyn Bowl located in the heart of Nashville. Jacklin is currently on her North American leg of the tour. I knew the true importance of this album for Jacklin prior to attending, however, I had no idea how much of a treat I was in for. The Gem, named after a neighborhood pub in Melbourne, shares space with a recording studio where Jacklin found herself recording the album. Jacklin felt she could finally fully express herself with this release after previously feeling pressured by limited time in the studio. Her new found creative freedom was apparent from the strum of her first chord. Right from the jump the setting was extremely intimate. For the most part the venue is standing room only, therefore, you have the opportunity to see acts close up. Unlike any concert I had attended before the crowd was extremely attentive. Not a singular cell phone in sight, Jacklin had everyone’s attention with her captivating performance from the very beginning.
She began the show by walking out to Dolly Parton’s, “Light of A Clear Blue Morning.” The entire venue went dark as Dolly’s voice pierced throughout the space. It felt as both a tribute to Dolly, and a foreshadowing of what was to come later on in the show. I appreciated that as being a Nashville native; it was almost patriotic hearing Parton’s iconic tune. Jacklin, in a simple black dress and knee high boots, started the set with the first song on her new album The Gem titled “Brand New.” She appeared refreshed and jubilant on stage as she conveyed that she was finally trusting her gut. Tambourine in hand, Jacklin helped to push along the beat to her own drum. Her confidence in this new album was infectious. This track is clearly a true anthem for the era of The Gem and placing it at the forefront of the show was clearly intentional. After the opening song, Jacklin not only reached for her electric guitar but she recalled numerous lead singles from her previous albums PRE PLEASURE and Don’t Let The Kids Win. Her performance of “to Perth, before the border closes” left me speechless with her vocal control. From the punchy tension built up to pulling away in a decrescendo, she not only demonstrated her vocal abilities but the authority she had over the audience experience.
The show then took a more intimate approach with her performance of “Good Guy.” Jacklin took a seat on a stool stage right and let the lyrics do the talking. The simplicity of the production yet complexity of the storytelling was antithetical. Jackin then invited her lead guitarist, Jacob Diamond to join her alone on the stage for a slower paced portion of the show. This moment allowed her to share some truly vulnerable pieces with the audience. She expressed through her song choices that she’s not into performances of vulnerability, instead she prefers authenticity. As a sentimental Nashville surprise, Jacklin brought out one of her favorite Nashville singer songwriters, Erin Rae. She gave up the stage and allowed Rae to play one of her most powerful singles “Bad Mind” with her band. The three part female harmony was so beautiful and helped to highlight the versatile talent of Jackin’s ensemble. The performance also helped to highlight the welcoming atmosphere of the Nashville songwriter community. Jacklin then switched gears once more and performed one of her most profound breakup ballads, “Don’t Know How To Keep Loving You.” It was obvious to me that Jacklin’s favorite thing to do as a singer songwriter is perform. She was in her own element on stage and that energy affected everyone in the room. Between each song and applause there was a moment of utter silence as Jacklin prepared for her next tracks. We all waited anxiously for what she was going to perform next. After those beginning jitters wore off, she brought the house down with her final track “Get Away From Me” and her encore song “Head Alone.”
Overall, Jacklin’s show was both extremely vulnerable and beautifully paced. The mix of both high energy punchy songs to acoustic moments made the experience a true journey. I appreciated the originality and exclusivity she brought to the Nashville show. The hint of Parton at the beginning of her set and bringing out a Nashville native songwriter in the middle highlighted the discourse of the Nashville music scene. Artists and songwriters collaborate here constantly and true musical legends have paved the way for future generations; Jacklin recognizes that. She also shared some truly vulnerable moments with the audience and captivated us all with her genuine love of performing. I enjoyed how simplistic the production was, yet how powerful of a delivery that came from all the musicians. Prior to this experience I had never attended a show where I didn’t see numerous people videoing the moment rather than solely enjoying it. It is safe to say that Jacklin has been gifted with a genuine talent of captivating her audiences and storytelling. It reminded me what concerts are all about, an uninterrupted shared experience with individuals from all walks of life.
