James Blake delivers powerful performance

British singer-songwriter and  producer, James Blake, took to Hollywood Forever Cemetery — home of the Sept. 29 Breaking Bad finale screening — Wednesday night to perform hits, old and new, from his self-titled first album and second album, Overgrown, with a couple of covers sprinkled in between.

First, Warpaint took to the stage promptly at 6:45 p.m. The four-piece femme fatale, best known for its indie hit “Undertow,” set the tone for a unique night of music with its psychedelic sound and distinct vocals.

At 8 p.m. promptly –— practically unheard of — the man of the hour took to the stage. Blake opened with “I Never Learnt to Share,” starting alone at his piano, surrounded by darkness except for the single spotlight shining upon him. The stark contrast created by the spotlight made Blake look like the subject of a modern Caravaggio painting.

Blake crooned: “My brother and my sister don’t speak to me, but I don’t blame them,” over and over again, slowly building the song up. Ben Assiter (drums) and Rob McAndrews (guitar/sampler) — whom Blake calls “two of [his] oldest friends” — then joined Blake onstage. Finally, explosive, ground-shaking electronic sounds paired with a psychedelic light show ensued.

This introduction set the overall tone and musical experience for the night. A mix of softer, keyboard-infused moments detailing love and loss, and flashes of progressive, unconventional sounds and beats filled the cemetery. It added a sense of dynamism to the night. Just when audience members thought they had figured out the direction of the show, it changed again.

“Life Round Here” followed the opener, along with a warm welcome from Blake: “I hope you’re feeling good tonight. This is a beautiful place, and it’s a great view from where I am.”

“To the Last,” “Overgrown,” “Digital Lion” and “Our Love Comes Back” followed close behind.

The crowd was responsive to Blake. Some passionately threw themselves into high-energy numbers. The beanie-clad man standing toward the back in the center of the crowd, for instance, gyrated (almost violently at times), throwing his arms up excitedly to every drop or climactic moment throughout the show.

Others remained a bit calmer, listening respectfully, not making a peep, as Blake let out his heartfelt ballads. At times, the crowd was almost entirely silent — sometimes on its own, other times upon request by Blake. It was really quite refreshing.

In these quieter moments, Blake showcased the rawness in his voice. Though he has an incredibly keen ability to harmonize — it’s really quite angelic — his voice isn’t perfect. It was in these moments of imperfection, however when the emotion really came through, and the concert felt less like a performance and more like an invitation into Blake’s personal life.

This occurred particularly while covering Joni Mitchell’s “A Case of You,” a song met with nothing but silence and attention from the crowd. “You’re in my blood / like holy wine / you taste so bitter and so sweet,” Blake rendered emotionally. “Oh I could drink a case of you, darling / and I would still be on my feet.”

This is not a song that calls for beauty or precision. This is a song that calls for raw honesty, and that’s precisely what Blake delivered.

“Limit to Your Love” stood out in the second half of the show, inciting mass Facebook, Instagram, Snapchat, etc. activity from the audience. “Voyeur,” a funky, rhythmic number — there’s some serious cowbell action — stood out as well. It got everyone dancing, from those standing at the front of the crowd to those sitting in the back with their makeshift picnics.

“Retrograde” was another number notable for its spontaneity. Blake, Assiter and McAndrews were not entirely faithful to the album, which was refreshing because it gave the audience something new to celebrate. It showed that the trio is not just a group of studio-specific artists.

As Blake began to wrap it up, he said: “This is going to be our last one, regrettably,” and played the tune  “The Wilhelm Scream.”

But after a brief absence from the stage, and the pleas of audience members, Blake and company returned.

“I do conveniently have one more song,” Blake quipped.

And then he played “Measurements.” It was hymnal, sounding like something that would have been found on the O Brother, Where Art Thou? soundtrack. It felt a bit unexpected — the song is one of his lesser known — but it just goes to show that Blake always keeps you on your toes, always guessing. He is truly unpredictable, innovative and that’s what made Wednesday’s show, and more broadly his music in general, worth noting.