Since they mention Natalie Merchant, she was on the Letterman show with Bill Clinton. She is now completely intolerable to watch, with her balletic, hippie arm twirls and very annoying demeanor.
washingtonpost.com
MUSIC
Friday, August 13, 2004; Page C03
Sarah McLachlan
Canadian songstress Sarah McLachlan made a name for herself as a folk-pop singer-songwriter beginning in the late 1980s until a hiatus after her Lilith Fair tours and the birth of her daughter, India, a few years ago.
She's back to work now, and Wednesday night in her first Merriweather Post appearance since 1999, the three-time Grammy winner pointed to a new direction in her career, one that positions her firmly on the rosters of Adult Alternative radio stations that thrive on the sort of emotional, mid-tempo balladry of Natalie Merchant and Tori Amos. Any rootsy folk aspects of her music now are buried beneath layers of major-chord pop, where the melodic hooks are spaced far, far apart during the 4 1/2- minute numbers.
Backed by a seven-piece band -- including two keyboards and two electric guitars -- McLachlan sang flawlessly, demonstrating a remarkable vocal range on pleasant songs such as "Falling," "Adia" and "I Will Remember You." She played acoustic guitar, electric guitar and grand piano (sadly drowned out by too much reverb) with confidence. But her biggest attribute is her charm. She addressed the audience several times with heartfelt thanks for being there and candid explanations of the songs, and she playfully waved to fans holding signs, making friends with each smile.
Charm was necessary on this night. Since we regularly slam Nissan Pavilion in this space for its odious parking, let's examine the Merriweather Post experience. Ushers sent ticket holders to the wrong side of the arena; the unreasonable $20 ATM limit carries an offensive $4 charge; food was limited to sushi and pretzels at three of four stalls; overflowing toilets sent women to the paperless men's rooms. Contempt for the fans was palpable.
-- Buzz McClain
