Tour” Concert. The Xavierite
Time has proven that George Miller’s career is an inspiration for possibility. Miller, now better known as Joji, is a multifaceted performer. Once a shockfactor Youtube comedian, he has since moved onto to serious ground with his music career. Instead of perpetrating havok among the streets of NYC in a pink jumpsuit, he graces our ears with odes of self-depreciation and heartache on his debut album “BALLADS 1”.
When Joji announced his planned arrival in Chicago’s “Bottom Lounge”, tickets sold out quickly. It was concerning whether a small venue like this was appropriate for his tour.
On the 88 Degrees & Rising Tour, he performed with an entire array of other talents such as Rich Brian, the Higher Brothers, and Kohh. However, on the BALLADS 1 Tour, he was simply accompanied by Rei Brown.
Having experienced plenty of heavyrock music festivals and concerts, there was plenty of uncertainty regarding the ambiance of a trip-hop, lofi event. What you imagine is true: the energy of a concert of this genre is as low as you can imagine.
But this doesn’t have to be a bad thing; for those who are intimidated by an aggressive crowd and mosh-pits, this is the concert for you. Alternatively, if you’re some who would rather crowd-surf than contemplate your inner turmoil to melancholic, soft music, the BALLADS 1 Tour may not have been your cup of tea.
Understanding the background of George Miller’s career, it’s no wonder that the “Bottom Lounge” was congested with hundreds of fans. Within a the hour of ticket sales, the show had suddenly sold out. Needless to say, everyone was there was a part history by participating in Joji’s very first headlining tour.
Rei Brown was the one and only opening act for Joji; it was his job to distract us from the anticipation that consumed us. Rei, formerly known as “Ray Baboon”, is a close friend of Joji himself. While Rei Brown isn’t guilty of anything too drastic, I cannot help but admit that his setlist is all very onenote. This is not meant in any offense to his fans that overtly expressed their support for Rei Brown, but I found it difficult to differentiate the tracks.
Most, if not all, of his songs could’ve been the same song and I wouldn’t have noticed. The lack of change in rhythm, energy, and tone was all but a lullaby for the audience, or at least for me.
To be fair, Rei’s music is best designed as an pleasant alternative to white noise. Rei specializes in Vaporwave, and is made for your rainy days or sad escapes. There’s no doubt that the singer has the talent needed to move forward. His sweet, delicate vocals could bring you shivers in the right moments. Regardless of the energy level of this performance, I anticipate that we will still be hearing more of Rei Brown in the future.
Not too long after dismissing Rei, we are greeted with the awkward-angle and sinister smile of George Miller brightly projected on the background. Joji does what he does best: get an audience hyped. Of course, even with the mellow-drama melodies, he manages to keep a crowd jumping with joy.
Even when singing odes of his batteredsoul, Joji can’t help but keep the vibe lighthearted. Between the softest of verses, he stays true himself and sharply slide in the b-word, which managed to catch us offguard each time. Even while immersed in sad territory, Joji is no stranger to inducing cackles.
There’s something refreshing about having a childish, hearty laugh at the dumbest things. It could be that Joji brings out the absurd child in us when we least anticipate it. Joji was also seemingly very concerned about the weather, as he blurted “it’s cold!” at least 10 times within his hour and a half performance.
The concert featured hits that allowed Joji to rise to fame, such as “Will he”, “Yeah Right”, “Can’t Get Over You”, “No Fun”, and a beautiful rendition of “Slow Dancing in the Dark.” What baffles me is the clear, sound quality of the concert itself. While performing, his vocals are raw and real. Everyone in the room could share the sentiment of each song with him when they sang along.
One thing worth noting is the issue of suspected occasional lip syncing. I can’t confirm if this is entirely true; it also wasn’t something I noticed off the bat. It wasn’t until I was looking back at my footage from the show that red flags immediately started to emerge.
Some songs sound more genuine than others. It becomes easier to tell that someone is lip syncing when all of a sudden the sound of your voice doesn’t match how close you are to the mic. This “oopsie” was prominent in one of the videos, particularly during “No Fun”, one of my favorite tracks off his debut album.
In all honesty, I am not disappointed with Joji in the slightest. Even if he was lip syncing, I can sympathize. His throat tissue damage makes it difficult to keep up with his vocal range. This is a case where his life may limit his art.
So instead of criticizing him, I just acknowledge that he tries his best. It felt insignificant compared to the amount of bliss I was a having. Ending us off with his number one hit “Slow Dancing in the Dark”, Joji made it easy to love the way I wrapped up my Friday night.
Having listened to BALLADS 1 for months beforehand, I was concerned with how long the show was going to tread on for. Joji is guilty of being unable to completely break free from treating his official album similar to that of an EP. BALLADS 1 experiences songs that are shorter than anyone would’ve hoped for. Each track spans for about two to three minutes on average. Even before slipping between the doors of the Bottom Lounge, I was bracing myself for, perhaps, the shortest concert I’ve ever been to.
The suspicion was true, but I’m not one for making everything a negative experience. In fact, even though the event ended around 9:00 p.m., it gave my companions and I enough time to make it to Ramen-San, (one of the hottest ramen restaurants in Chicago), overriding our 11:00 p.m. reservation.
As a fan, I am looking forward to what Joji is going to bring to the table next. He’s got a variety in sound that keeps him fresh and relevant, while still riding the trend of self-depreciation pop, (I’m hoping for a collaboration with Billie Eilish, an artistic pairing that would make sense).
The next time around, I’d expect plenty more music, a bigger venue, and perhaps a few more opening acts. However, it wouldn’t be a bad thing to experience Joji at the Bottom Lounge again, as the intimate setting that makes it easier for fans to connect with performers.
There’s are hardly any complaints for a quirky concert like this. Although it was brief, It exists in a humble realm of my mind, as a memory worth mentioning down the line if he manages to headline in venues like the House of Blues or even, say, United Center.
Joji has plenty of progress to make, but there’s not denying that he’s got a promising start.
Alma Tovar
Features Editor