It's difficult to reconcile the John Mayer you read about in interviews with the John Mayer you actually hear in his music. On paper, he's sharply intelligent and self-deprecating, not afraid to flaunt his musical knowledge and ability. But on each of his two albums, Room for Squares, and Heavier Things, his breathy vocals and Phil Collins-like adult contemporary pop seem to obscure any real demonstration of his skills as a musician and a songwriter.
Mayer's concert last night at the Tucson Convention Center could have been the best way to combine this dual persona. His one-hour and 45-minute set was nearly flawless. Every song sounded exactly as it does on CD. While this says much about the musicianship of both Mayer and his backup band, it doesn't say a lot for him as a performer.
Maroon 5 opened the show, playing a fairly long set from its album, Songs About Jane. The arena was almost filled while they performed, and the band seemed propelled by its appearance on "Saturday Night Live" just three days ago, and the nonstop radio play of its first two singles.
Mayer began his set with each of the first tracks on his two albums, No Such Thing and Clarity. Though it might be unwise for most bands to begin their show with two of their biggest hits; the audience, disproportionately young and female, knew pretty much every song from his performance.
Though Mayer may not be the most charismatic live performer, the audience (once again, mostly young, mostly female) hung on to everything the singer said. If album covers or the "Your Body is A Wonderland," didn't convince you, make no mistake: Mayer is a hot boy. He charmed the ladies between songs by complimenting both Tucson and the audience.
"If Hollywood hired a crowd, this is what he would look like," he said. A collective sigh washed over the TCC after Mayer claimed he had to keep on disappearing behind the stage to, "lubricate" ÷ the Tucson weather was making his throat dry.
Highlights of the show included the debut of two new songs, (Mayer said the phonetic similarity between "two songs" and ĪTuc-son" made him want to try something new), "Hummingbird" and "Distance." The first of the unreleased songs had some uncharacteristically odd keyboard work. Odd, that is, for a singer whose songs are usually too catchy to offend anyone. It was just a touch of dissonance, or, as dissonant as you could get from someone as easily palatable as Mayer. The second new song, "Distance," veered dangerously close to Dixie Chicks territory, though a more apt comparison might be Pure Prairie League's "Amy."
Another highlight was "Come Back to Bed," from Heavier Things. It seems like when anyone criticizes the blandness of Mayer's music, fans point out his fantastic guitar skills. His solos during "Come Back to Bed" proved he's a great musician. It's too bad that it can only be proved during live performances; his radio-friendly pop songs certainly have no room for guitar wankery.
Mayer ended his set with two softer songs, his panty-dropping "Your Body is a Wonderland" and "83," both from Room For Squares. Encores were "St. Patrick's Day" and "Only Heart." Though the show was enjoyable, it is unfortunate Mayer is a more impressive guitarist live than he'll ever show on records, and that he might even be a better songwriter than he wants anyone to know. But for Mayer, it looks like being young, hot and famous is good enough for now.