The Bellwether is one of LA’s premier venues for concerts. Whether standing in the small upper balcony or up close to the stage in the pit, the acoustics are always sharp and full. It was the perfect setting for José González’s intimate performance of his newest album Against the Dying of the Light to a sold-out crowd.

Starting off the evening, Abby Sage’s performance set the mood. She performed covers and originals from her newest work in a stripped-down manner, only herself and a bassist. (Throughout the set, two different bassists she’s performed with—Ava and Duncan—traded off songs.) It was intimate and unhurried. Her voice has a real character that is distinct enough to hold a room on its own. She delivered a gorgeous cover of Dido’s “White Flag,” with a level of restraint that really lets the song breathe. But the highlight was a touching instrumental that felt like it pierced my heart; it was stunning. Between songs, she mentioned how special it was to share the stage with González and how grateful she is for this tour.

González took the stage without fanfare, settling onto his chair under lighting that shifted throughout the night. First, there were streaks of gold, like sunlight cutting through clouds, then deep hues of blue, and soft whites that casted a subtle outline around him. His setup was simple, but incredibly effective. For an artist working alone with minimal accompaniment, González has a remarkable ability to keep the atmosphere from flattening. His newest album, Against the Dying of the Light, provided much of the setlist—”Ü / Rawls Slöja,” “Etyd,” “A Perfect Storm”—however the range was wider than that. Songs delivered entirely in Swedish or Spanish sat alongside English tracks, and the emotional shifts between them kept the showfrom settling into one gear.

The crowd responded most noticeably to “Killing for Love,” cheers rising as he casually strummed the first few notes. People nodded along, or swayed lightly as their partner hugged them from behind. González has the ability to draw out emotions that might otherwise stay repressed, both through songs he’s written and covers of equally revenant music.

Those covers might have been the real emotional center of the night. His take on Massive Attack’s “Teardrop” was gorgeous, skeletal but not fragile, and he closed with The Beatles’ “Blackbird,” which he played with such care it felt like he was approaching a legacy he didn’t want to disturb. Undoubtedly, his rendition was successful and a powerful way of closing the night.

González has depth and character that goes beyond technical skill (though he certainly has plenty of that too). Watching him move between languages, between moods, between two guitars, all while holding the attention of a sold-out room, is more than impressive.

Words and photography by David Saxum

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José González at The Bellwether in Los Angeles, California photo by David Saxum