Joan As Police Woman

Eleven years since Joan Wasser reinterpreted songs by artists including Britney Spears, David Bowie, Jimi Hendrix and even Adam & The Ants she returns on 'Cover Two' with another eclectic mix of song choices. This time around the track selection is no less random, other than that they make up some of her favourites, as she sets about deconstructing them and making them all her own. Joan's 2020 release includes artists from Neil Young to Blur and Talk Talk to Outkast.

As Joan heads towards her fiftieth birthday she seems to be gathering momentum rather than easing off. 'Cover Two' follows on from her retrospective 'Joanthology' from last year and her luscious album release of entirely new material, 'Damned Devotion', from February 2018. Reinterpreting or covering another artist is always a very tricky area. Are you completely sympathetic to the original? Do you go all out to alter the very fabric of the song? Do you do something radical? Either way, it's so subjective and is unlikely to please die hard fans of the original. Risk vs reward aside though, it usually throws up some very interesting versions.  

'Cover Two' is introduced by one of the most contentious choices on the album. The song that Joan has chosen to head up her latest release is one she's been playing live for a while, and one which she played throughout her Joanthology Tour of 2019. 'Kiss' by Prince is also one of the more obvious cover choices. It's been done before, and with a great deal of success from Tom Jones to Kelly Clarkson and even the likes of Richard Thompson and Nicole Kidman inbetween; 'Kiss' is a beloved song that everyone thinks they can cover. 

Continue reading: Joan As Police Woman - Cover Two Album Review

It's always nice to just reflect sometimes, take stock of your life and look back on what you've achieved and where you are. As Joan Wasser approaches her 49th birthday she has decided that now would be a timely juncture in her career to pull together highlights from the last fourteen years of solo recordings. To support the release of her three CD compilation that dropped in late May, Wasser has embarked on an extensive 'Joanthology' UK-wide tour. 

At the Quarterhouse in Folkestone, Kent, Joan Wasser, aka Joan as Police Woman, took residence for the night to play through some of the stand-out tracks from her extensive back catalogue. Joan played without a support act and without a band; it was just her, a piano, a guitar and occasionally a Roland Rythmn Box. Joan As Police Woman took to the stage of the Quarterhouse in a sleeveless black jumpsuit and metallic platform boots. She settled herself in front of the near sell-out crowd and began her set with three consecutive songs at the piano. 

Lit discreetly, Joan played with composure and poise, putting her all into the delivery of each song. 'To Be Lonely', a superb, spine tingling version of the achingly beautiful 'Wonderful' and 'Warning Bell' served up a breathtaking trio of songs to start the night. Joan's first song on guitar, 'Forever And a Year', was taken from her 2011 album 'The Deep Field', before her second went back to her first solo album from 2007 as she lovingly dedicated 'We Don't Own It' to her dear friend Elliott Smith.

Continue reading: Joan As Police Woman - The Quarterhouse, Folkestone 26.06.2019 Live Review

Joan Wasser brought her very particular brand of soulful music to a quiet corner of Brighton as she neared the end of the current tour. In support of her latest album release, 'Damned Devotion', earlier this year, Joan has been as far afield as Istanbul and as close to home as Brooklyn. Tonight, nestled among well kept rows of Mews and a few roads back from the hustle and bustle of busy Brighton life, Joan as Police Woman entertained all before her in the near two hundred year old venue of The Old Market (TOM).

Fyfe Dangerfield, of The Guillemots, stepped up on stage prior to Joan and blew a lot of the audience away with his solo performance. "You're amazing" came the shout out from the crowd as he flitted between piano, guitar and what looked like a bass ukulele. As he changed instruments, he also had various, low budget, costume changes, "Like Katy Perry without the money", he quipped. There were a couple of dressing gowns (one a very impressive Marvel superheroes number), some silk scarfs and a very fetching pair of huge Gorilla head slippers. He played out a stunning rendition of 'Falling Out Of Reach' on the uke and a very in character take on 'Outside'. The acoustics suited his style and his voice, although he did confess that the seaside had rendered him incapable of talking properly.

Joan As Police Woman wasn't far behind Fyfe. She and her band looked resplendent as they took to the stage in their matching silk blouson jackets. Like a latter day set of Pink Ladies but with only one (leading) lady. Joan was in fine voice and her band, aside from one small hiccup later on, were as tight as they come. They started out with a perfectly pitched take on the opening track from her latest album. 'Wonderful' sounded stripped back, clear and crisp as Joan's soulful vocal resonated around the hall. One song and she'd already captured the audience. 'Warning Bell' and the incredibly infectious, more upbeat, 'Tell Me', sealed the opening trio of Damned Devotion tracks before a throw back to her first solo album, 'Real Life', with a take on 'Eternal Flame'.

Continue reading: Joan As Police Woman - The Old Market, Brighton 23.04.2018 Live Review

Joan as Police Woman's latest album release 'Damned Devotion' sees the lyrically adroit soulstress delivering her best work in years. That's not to say she's been off form or put out some questionable material, it just means that this album marks a high point. After taking a minor side-step to collaborate with Benjamin Lazar Davis on her last album, 2016's 'Let It Be You', Joan Wasser returns to her forte; smouldering, soulful excellence. Gone are most of the jagged edges, fiddly synth noises and unaligned percussive touches. Where 'Let It Be You' helped Joan investigate a creative path that was slightly more experimental, 'Damned Devotion' feels more like Wasser playing to, and exploiting, her strengths.  

'Damned Devotion' is, in large parts, a lesson in restraint; it's just as much about what's been left out as to what's been carefully and considerately added in. There is no sense of urgency, no need to hurry any of it along, just a brilliant sense of calmness built into its very framework. Where Joan's previous album may have been a little fidgety, 'Damned Devotion' is super smooth and definitely, for the most part, chilled out.

Arguably, it's the tracks with the lowest BPM that help elevate Joan's latest album to being rather incredible. Opening track 'Wonderful' is just that. This is Joan doing what she does best, a 'Get Direct' or 'The Magic'; a sultry, smoking and seductive song that captures you from the opening bars. The deft arrangement lets Joan's voice take centre stage as she delivers up a vocal that showcases her talent superbly. 'Silly Me' is similarly laidback and relaxed as Joan questions and contemplates in a retrospective that oozes heartache and pain. The paired back score is pitched to perfection to act as a foundation on which Joan can project her impassioned vocal. 'Warning Bell' and close out track 'I Don't Mind' show equal self control and moderation. Joan's vocal soars and the songs give up a seemingly uncomplicated joy in their relative simplicity.  

Continue reading: Joan As Police Woman - Damned Devotion Album Review

From Brooklyn to Brighton, via sleet and snow, Joan as Police Woman and Benjamin Lazar Davis came to the Haunt in Brighton to showcase their latest collaborative album, 'Let It Be You', Thankfully the weather in Brighton was a lot better than their drive down from Hebden Bridge, the venue for the previous night's gig. Here, in the screening room of a converted cinema, Joan, Ben and band took to the stage to perform album highlights as well as some of Joan's solo back catalogue.

Appearing throughout, as per the album cover, in blue jumpsuits (Think Kwik Fit ad extras vs 70's L.A car wash) Joan and Ben set about mixing the very new with the very special. The gig got off to a strong start and hardly faltered in the near ninety minute set. Opening with 'Satellite' it was clear that Joan was in good voice, her vocal at the forefront of this track and sounding especially emotive as the song de-constructed into a near A cappella end. Album highlight 'Magic Lamp', followed by its more angular title track and soulful reflection, 'Hurts So Bad', were up next; Joan, Ben and band assuredly affirming the quality of their new record.

At five songs in Joan went back a decade to revisit her first solo album, 'Real Life', with a stirring, organ heavy, version of 'Save Me'. Shortly afterwards Joan went solo again, alone on stage as she initially struggled to relieve herself of her, rather more difficult to take off than anticipated, wrist band. "Thanks for understanding my plight" she commented to the crowd, "I'm free at last". Stood at the keys, Joan first played out, 'To Be Loved', from her second record 'To Survive', and then, guitar in hand, proceeded to deliver a fabulous take on 'We Don't Own It'.

Continue reading: Joan As Police Woman and Benjamin Lazar Davis, The Haunt, Brighton 18th November 2016 Live Review

Having had to wait just over three years for a follow-up to one of the best albums of 2011, anticipation has been one of high but anxious expectation. Thankfully, the anxiety element was entirely unnecessary as 'The Classic', Joan as Police Woman's fourth album, is a stunning follow-up to 2011's 'The Deep Field'.

The whole album has a feeling of being such a complete and cohesive piece of work bound by wonderfully exuberant and sumptuous threads. 'The Classic' is another accomplished, fully-formed album from the formidable Joan Wasser. The maturity and dexterity with which 'The Deep Field' was delivered is, again, in evidence here. This time around though, Joan has allowed herself more freedom and a more indulgent framework, and as such she has become even more expressive.

The temperament with which Joan approaches her work is perfectly presented on 'The Classic'. Joan has once again shown just how good an album can be without the need to languish in melancholy. The mood of her latest work embodies her 'lust for life' and beautifully encapsulates an upbeat, life-affirming disposition. Having gone back to a more traditional live recording set up, Joan has managed to capture a real sense of joy and happiness. There is little shoe gazing and plenty of celebration.

Continue reading: Joan As Police Woman - The Classic Album Review