Gig Review: SJD the band is back. Sean James Donnelly the songwriter never went away. Here was the proof of both

Gigs used to get reviewed by newspapers. I was lucky to be one of the people doing that. Then gig reviews went away. I miss them. So I’m trying to bring them back.

SJD

Meow, Wellington

Saturday, July 1

For over two decades now, Sean James Donnelly has been making music as SJD. Everything from mancave electronica to lushly sweeping, string-arranged widescreen pop, via documentary film soundtracks, co-writing and sideman work (Don McGlashan), collaborating with Neil Finn (Pajama Club) and appearing as part of those all-star line-ups that sell a cover-version of a classic album (Come Together).

At the heart of his work, and sound, is a small collection of perfectly-formed pop songs. Hits from an alternative universe. Songs that make you feel lucky to be alive, songs that sing their truth and speak to you directly from the soul of another. Songs that sparkle just enough to be interesting, and never to be merely distracting.

With a brilliant new album in tow, SJD took the band out on the road – it feels like ages since I last saw him in any guise. But Sweetheart feels like a return to form after perhaps a year or three in the wilderness. It also returns so many staple players to the fold. For “SJD” is also a band – has always been a band. And key to that band are the faithful players that have been there for a decade or more. Chris O’Connor (drums), Sandy Mill (vocals, percussion), Mike Hall (bass), James Duncan (guitar) and Claire Cowan (keyboards) all have other side-gigs and have been part of many main line-ups. They’ve been in some of the country’s best pop and rock bands, made movie and ballet scores, played a hand in experimental music – and if you don’t instantly know the names you absolutely know the sound of these great players.

Beginning with Superman, You’re Crying, this set was a masterclass of the great SJD songs – moving up through the key albums (Southern Lights, Songs From A Dictaphone, Elastic Wasteland and Saint John Divine) to include material from Sweetheart, which neither dominated, nor was lost or placed as afterthought.

The set built beautifully, from Dictaphone’s Bad Karma in Yokohama’s intriguing framework through to the dynamism of Saint John’s Helensville, via ‘smaller’ gems like Southern Lights’ title track and the spare acoustic balladry of Two Bodies. And then eventually the groove-laden Dictaphone highlights, Jesus, I Am The Radio and eventual encore, I Wrote This Song For You.

I often wonder if Sean is really writing these songs for us. His magic trick seems to be that he is writing them for himself, to keep himself sane and alive – and then the magic trick within each song and the winning performances that feature these astonishingly good musicians is that they feel like they’ve been crafted just for us.

Chris O’Connor’s propulsive groove is, to me, the thing that absolutely lifts a song like Jesus, makes it what it is – but it’s no showcase for the drummer, merely a musician bonding with the elements of the music and making the correct chemical reaction. Same with Sandy Mill’s vocals – she moves from backing vocalist to featured singer, sometimes within the same tune, but no performance is ever too small. She is there always for the song – and has an active role in selling the emotional drama contained in Donnelly’s perceptive, intimate, and often deeply moving lyrics.

The way James Duncan, Claire Cowan and Mike Hall make – and fit into – the collective groove is similarly achieved with little fanfare, with absolute care and with the requisite amount of space, always, for Sean’s voice to soar.

The closing song, Beautiful Haze, never sounded better; is the reminder that we have a world beater right here – one of the best songwriters of the last quarter century lives in Auckland, makes music as he can and with the help of his amazing friends is taking it out around the traps once again. I left grateful, sated, and happy. That’s how music is meant to be, that’s what live music is supposed to do.

And the evening was kicked off by the brilliant Wiri Donna. I knew next to nothing about this band, beyond a few shouts from people that hinted at a solid reputation. Lead singer/guitarist/songwriter Bianca Bailey most certainly has the chops – and the songs. And the band had a full audience nicely held, creating the vibe for the main act but also correctly selling their wares. The “one to watch” line doesn’t quite cover it here, but I certainly wanted to see and hear Wiri Donna again. For sure.