Come to my window

December 7 2001 GAY PEOPLE'S CHRONICLE

Etheridge's primarily lesbian crowd responds to her every move with screams, whistles and sighs

Melissa Etheridge

Allen Theater, Cleveland

November 29

Reviewed by Janet Macoska

Melissa Etheridge's "Live and Alone" tour finally reached Cleveland, playing a notquite-sold-out performance at the Allen Theater November 29. A black and white video leading up to her entrance onstage gave everyone a sneak peek of Melissa's pre-show dressing room rituals, including closeup action of belts being buckled and zippers being zipped. This built the audience's tension and anticipation, which erupted in a roar and standing ovation the moment the stage lights dramatically presented our Ms. Etheridge, standing alone on a platform, legs spread, arms and guitar raised, in charismatic rock star fashion.

The solo Etheridge performed very, very “live” but definitely not alone, as the enthusiastic and primarily lesbian crowd lustily sang every lyric along with her, and responded to her every move with screams, whistles, and sighs.

This interactive concept inspired Etheridge to acknowledge very early on that the set list was up for grabs, and she responded to audience requests as long as they brought their own lyric sheets (which they did, printed out by hand on poster board). In addition to singing the expected hits, such as "Come To My Window," "I Want To Come Over," "I'm the Only One," and "Bring Me Some Water," she delighted the long-term fans with some more obscure early tunes like "Cherry Avenue." The set ranged over her entire career, and surprisingly featured very little material from her current album, Skin.

Despite the absence of a full band, Etheridge had no problem filling the stage and commanding the audience's attention with her passion, presence, and talent. Her songs became even more personal in this stripped-down setting. Among the most powerful moments in the show was her presentation of "Scarecrow," the song about the murder of Matthew Shepard.

As a black and white video ran behind her, Etheridge performed on her knees for most of the song, reaching deep within to tell the story, emotionally and emphatically connecting with every soul present as she proclaimed, "I will forgive, but I will not forget." During the two-hour plus concert, Etheridge moved effortlessly from acoustic guitar to electric guitar to grand piano. A most memorable and lovely moment was her poignant version, with piano accompaniment, of Joan Armatrading's "The Weakness in Me." During "Occasionally," Etheridge beat out a rhythm on the back of her Ovation guitar as her sole instrumental backing.

If she missed the sound and security of a full band, it didn't show. Clearly enjoying the evening, her performance elevated by the energy and enthusiasm of her Cleveland fans, Melissa Etheridge held the spotlight, delivered the goods, and left everyone wanting more, encore after encore.

One troubling item: Melissa Etheridge joins an ever-growing list of gay and lesbian notables shunning the gay press. The Gay People's Chronicle asked Etheridge's publicists for the opportunity to interview her for pre-show publicity, as well as review tickets and a photo credential to cover the Allen Theater show. All requests were denied. An Island Records spokesperson told the Chronicle that only daily newspapers were being given access to photograph her concerts and review her shows. There are no daily gay newspapers, which effectively shuts it the gay