$55.00 – Reserved Seating
*plus applicable service fees
The general on sale begins Friday, October 20th at 10am.
*Please note that shows may sell out during artist and/or promoter presales. We recommend securing your ticket during the presale period.
Tickets are also available service charge free at The Fox Theater’s Box Office (located on the 19th street side of the theater) on show dates and on Fridays from noon – 7:00pm.
Early in 2016, James Blake threw a party with his 1-800 Dinosaur label collective and early Dubstep evangelists DMZ at The Prince of Wales pub, Brixton. Through his last five years’ musical adventures, James’ exquisite song suites have taken him to lofty places. James Blake climaxed the world tour in support of his last record, Overgrown, to successive standing ovations over two nights at The Sydney Opera House. ‘Just mind-blowing, the kind of thing you dream of,’ he says. ‘Every night ended with just me and piano.’ As he releases his third suite, The Colour in Anything, James is still only 27 years old.
For every sublime, a ridiculous. In the wake of his self-titled debut, James was invited to join a choir including Antony Hegarty, Laurie Anderson and Magnetic Fields’ Stephin Merritt to sing behind Lou Reed at Carnegie Hall for an emotional finale at a Free Tibet benefit, curated by Philip Glass. ‘The reason I still can’t play in mainland China,’ he notes. It was an experience only marred by the toke of a joint handed him from one of the cleverly obnoxious Brooklyn hip-hop trio, Das Racist, before stepping onstage. ‘There I am, my gangly 6’6” self, poking out the back of this ridiculously well-appointed choir and I’m like just feeling so awkward. And paranoid, of course. It was a bit like being in Dad’s Army.’
During the making of The Colour in Anything, James has found himself in other rarefied circles. There have emerged amid the undeniable global musical elite new friends, allies and admirers attracted to his bespoke musical mood, his certainty with sound. His influence has proved legion. There is barely a boy in his bedroom making beats that is not in thrall to some of Blake’s methodology and sound. At the upper musical tier, his music has proven irresistible to the international r&b community who came courting for collaboration.
With the help of Rubin, Ocean and Vernon, even perhaps through the countless requests that came through to collaborate, James has found himself by learning to let go. The transparency of songs like My Willing Heart and Modern Soul would not, could not have happened before. “With Justin, I wasn’t that interested in making music with him, initially,” he says, “I just wanted to be his mate.” The recording happened anyway. With Rubin, it was about allowing a second pair of ears in at the crucial development stages of building a new world on record. “The first time I was at Shangri-La, one of my band came to visit. I came out in a white t-shirt and slack trousers, no shoes and socks and I looked like I actually was at rehab or I’d joined a cult. Oh, James has changed.” It was true. He had. With Frank, it was about building a mutual support system. “I love Frank. He’s magnetic. The myopic viewpoint of my music and maybe my life slightly got in the way for a second. Then I caught myself. I stopped being an only child on this record.”
For James Blake, the transparency of light now beckons. It may yet be the colour in everything.