Performance artist extraordinaire John Kelly brought his transcendent re-creation of the music and personality of Joni Mitchell back to San Francisco after a five-year absence. It's one of the finest shows I've ever seen and elevates the tribute show to new heights through Kelly's magnificent musicianship and commitment and connection to the object of his homage.

The music of Joni Mitchell, with its off-kilter melodies, emotionally raw lyrics and intellectually challenging social commentary, has become sacrosanct to her legion of fans. These same fans, many who have never seen Joni Mitchell perform live, sat in rapt devotion while Kelly weaved the spell of Mitchell's innovative harmonic phrasing, off-beat onstage banter, and most importantly of all, the beautiful body of music that both engaged and inspired a generation of singers like Carole King, Janis Ian, Chris Williamson, Ricki Lee Jones and Joan Armitrading.  Kelly's performance utilizes his counter-tenor voice to recreate Joni's early period distinct for its smoky  upper register combined with her use of alternative open guitar tunings to create the rich complex harmonies.

Opening with the emotionally raw and transparent "Conversation" into "For Free," a commentary on commercialism and success, one is awed by Kelly's musicianship and complete immersion into the character.  The look is right on: long flowing blonde wig and hippie sun dress; the voice a near match. The expert choice of material from the widely popular ("Circle Game," "Chelsea Morning") to the haunting "Shadows and Light" and the starkly sensitive "Down to You," display an awareness and understanding of his subject that raises this show to high art. Playing guitars and the dulcimer and backed by Zecca Esquibel (as Mitchell friend Georgia O'Keefe) on keyboards, Kelly transports you into the compelling world of Joni's words and music. Herself a huge fan of Kelly's homage, Mitchell was ready for a lampoon, but was moved to tears.

Male tributes of female icons can often be parody like a Charles Pierce, Charles Busch or Lypsinka, played for laughs. Then there's Jim Baile,y whose impersonations astound and illuminate the subject on a deeper level. For his encores, John Kelly's Joni removes the visual imagery to reveal John Kelly the artist. For three gorgeous numbers ("Shine," "Blue" and "Night Ride Home") it's just the man and the music, and the Kelly's point is made. With or without the illusion, Mitchell's music, presented with care and uncanny authenticity, is what it's all about.

Steve Murray
Cabaret Scenes
July 31, 2009
www.cabaretscenes.org