Seven-time Grammy winner John Mayer brought his acclaimed solo tour back to Atlanta for a captivating fall performance at the State Farm Arena, following a successful spring visit earlier in the year. This tour marks a unique chapter in Mayer’s career, showcasing his artistry in a stripped-down, band-less setting. This time, singer-songwriter JP Saxe joined as the opening act, setting the stage for an evening of intimate and masterful musicianship.
My concert experience began from the arena’s upper reaches, offering a panoramic view of the minimalist stage design. The setup was elegantly simple: Persian rugs adorned the floor, grand pianos stood stage left, a guitar array to the right, and a central microphone, all subtly lit to enhance the intimate atmosphere. Large LED screens, a central focal point flanked by smaller side screens, promised visual accompaniment to the music. JP Saxe initiated the night. Known primarily for his emotionally resonant hit, “If the World Was Ending,” Saxe was touring on the heels of his newly released album, The Grey Area. The stage visuals echoed the album art, employing melting red, yellow, green, and blue paint effects as borders on the LED screens.
While appreciative of Saxe’s artistry, his performance, unfortunately, didn’t resonate deeply with me. His vocal delivery, a blend of spoken-word verses transitioning into powerful, Lewis Capaldi-esque choruses, felt somewhat uneven. Thematically, his set leaned heavily into melancholic and somber tones, and instrumentally, the songs lacked distinctive elements. My primary critique, however, centered on Saxe’s instrumental performance.
Performing solo, Saxe alternated between piano and guitar. He commenced on piano, switched to guitar for a few songs, and then returned to the piano. It became apparent that simultaneously singing and playing instruments presented a challenge. During piano pieces, noticeable hand shaking mid-song suggested fatigue. Transitions back into playing after these pauses were often marred by timing and note inaccuracies, recurring issues throughout his set. While competent on piano, his playing while singing remained simplistic. His guitar work was even less compelling, at times reduced to barely audible strums. An a cappella song further highlighted the instrumental void. While his performance seemed to improve slightly with his more recognized songs towards the end, overall, this initial exposure to JP Saxe left me underwhelmed.
Following a brief intermission, anticipation surged as John Mayer prepared to grace the stage. He opened with the iconic “Slow Dancing in a Burning Room” on acoustic guitar, instantly igniting the crowd’s enthusiasm with the first strum. Despite a grand piano being present, Mayer remained focused on his guitar throughout the performance. Shortly after the opening song, Mayer, with disarming candor, announced, “Johnny’s got a cold,” explaining that his vocal performance might be slightly affected. However, he playfully reassured the audience, promising to compensate by “overdelivering,” encouraging everyone to “strap in for a great show.”
Remarkably, had Mayer not disclosed his cold, it would have been imperceptible. His guitar playing was nothing short of exceptional, seamlessly weaving intricate leads and melodies through his songs. Vocally, he was equally impressive, effortlessly reaching his signature high notes. A hallmark of Mayer’s solo tour is its spontaneity; each concert is a unique experience. He demonstrated this fluidity by readily responding to audience requests and recalling songs adaptable to his guitar’s current tuning.
After the initial four songs, an unexpected and delightful upgrade occurred. A representative from State Farm Arena approached our section, offering tickets in the lower bowl. Though this meant missing a portion of “Neon,” the improved vantage point for the remainder of the concert was invaluable. Our initial seats offered a restricted view, obscuring Mayer himself and limiting visibility to only one LED screen. The seat change was transformative, providing a clear and immersive view of the stage.
The Atlanta concert held a special significance for Mayer, referencing his formative years in Duluth, Georgia, over two decades prior. He shared how many songs from his debut album, Room For Squares, originated during his time in Atlanta. He poignantly performed “3×5,” contextualizing the headspace during its creation. Adding a nostalgic layer, Mayer incorporated vintage interview clips and promo videos from the Continuum and Room For Squares eras during brief intermissions for hydration or guitar changes.
Beyond his primary acoustic guitar, Mayer showcased his versatility with two other instruments. He played a striking silver 12-string resonator guitar for “Walt Grace’s Submarine Test, January 1967,” a performance enhanced by captivating water-themed visuals on the LED screen. For the final two songs, “If I Ever Get Around to Living” and “Edge of Desire,” he switched to a double-neck acoustic guitar. These selections, showcasing Mayer’s peak guitar prowess, provided a powerful concert finale.
Witnessing these final songs live was an almost transcendent experience. Mayer’s vocal intimacy on “If I Ever Get Around to Living” captivated the audience, culminating in an awe-inspiring guitar solo. The stage visuals remained minimal, emphasizing Mayer’s raw talent. For “Edge of Desire,” the lights dimmed, the LED screen transitioned to black and white, and extreme close-ups of Mayer’s passionate performance, punctuated by flashing lights, filled the screen. Despite not being a long-time devotee of “Edge of Desire,” the live rendition elevated it to a new appreciation, possibly ranking it among Mayer’s best.
Mayer returned for a brief encore, performing “Comfortable” and a heartfelt cover of Tom Petty’s “Free Fallin’,” before concluding the evening. For attendees seeking a comprehensive journey through Mayer’s discography, this concert delivered. The setlist spanned his career, featuring four songs each from Heavier Things and Born and Raised, three from Continuum, Sob Rock, and Room For Squares, two covers, and one song each from Paradise Valley, Battle Studies, Where the Light Is, and the Inside Wants Out EP. Notably absent was any material from The Search for Everything, a slight disappointment for fans of that album, though Mayer mentioned it was initially included but removed due to his illness.
In conclusion, attending John Mayer’s solo tour is highly recommended. He delivers an exceptional, unrepeatable live music experience, reaffirming his status as a phenomenal musician. The ever-changing setlists ensure each show is unique, potentially featuring rarely played gems or works-in-progress. This Atlanta show, for instance, included a live debut cover of Queen’s “Under Pressure.” For those seeking masterful guitar work and compelling vocals, John Mayer’s solo tour is an unmissable event.
Setlist:
Acoustic
- Slow Dancing in a Burning Room
- Daughters
- Wild Blue
- I Don’t Trust Myself (With Loving You)
Room For Squares Interview
- Neon
- Who Says
- Waitin’ on the Day
- Come Back to Bed
- Under Pressure
- Last Train Home
- 3×5
- In Your Atmosphere
- Something’s Missing
Continuum Interview
- Stop This Train
- Something Like Olivia / Split Screen Sadness / New Light Medley
- The Age of Worry
- Your Body is a Wonderland
12-String Resonator
- Walt Grace’s Submarine Test, January 1967
Double-Neck Acoustic
- If I Ever Get Around to Living
- Edge of Desire
Encore
- Comfortable
- Free Fallin’
