Clutching the microphone as if it were a lifeline, Dijon captivated a sold-out audience at Brixton Academy with a performance that felt more like an intimate jam session among passionate friends than a conventional concert. Nominated for producer of the year at the upcoming Grammys for his work on the album Baby and collaborations with Justin Bieber, the US singer-songwriter showcased his unique blend of lo-fi R&B and daring experimentalism in a two-hour set that pushed sonic boundaries.
A Forest of Futurist Sound
Dijon's setup at Brixton Academy was a testament to his ambitious vision, featuring an extensive array of instruments including soundboards, synthesisers, a live drum kit, electric guitar and bass, violin, and backing vocals. This electronic prog rock configuration allowed him to weave a dense and dramatic tapestry of sound, playing 21 songs in quick succession. Opening with tracks like Big Mike's, Another Baby!, and Many Times, he seamlessly merged the bedroom R&B of his debut album Absolutely with the experimental pop sensibilities of Baby.
Blending Influences with Whiplash Intensity
The performance highlighted Dijon's ability to blend diverse musical influences to the point of whiplash. For instance, Scratching evoked a fusion of King Krule and Simon and Garfunkel, accentuated by live banjo and tambourine. While a mid-set run of seven songs, including The Dress, risked feeling mundane, it was punctuated by a standout Appalachian-sounding jig performed on violin by Sam Amidon. The show truly awakened after (Referee), as smoke enveloped the stage and lights dimmed, marking the first real use of stagecraft.
Guitarists transitioned to synth pads, creating an eerie, futurist soundscape that swelled and collapsed in grungy chords. Despite the complex instrumentation, the music remained earthy and deep, with tracks like Rewind exuding passion bordering on anger. TV Blues and Talk Down introduced industrial sounds as rhythmic devices, phased and filtered without consistent hi-hat rhythms, resulting in an oozing, glutted sonic atmosphere.
A Visually Spartan Yet Sonically Rich Finale
The show closed with Yamaha, Automatic, and Kindalove, evoking the nostalgic end of a 1980s prom as mirrorball lights illuminated the starry-eyed crowd. For the encore, a clarinettist played over Rodeo Clown, with the noise gradually diminishing until only Dijon's voice remained, lit by a single spotlight in his signature silhouette of hanging off the mic. Visually spartan but sonically rich, this performance elevated Dijon's discography to another plane, rendered almost unrecognisable by his fearless auteurism. Held at Brixton Academy on 23 January, the event underscored his status as a Grammy-nominated R&B innovator unafraid to explore new auditory frontiers.
