JULIA JACKLIN – RESIDENT, BRIGHTON 29.6.26
Since the 90s, the way we consume music has changed. Gone are the days of albums reaching 40x platinum status; modernity favours an everything-now approach, with albums largely available on streaming from midnight. While convenient, platforms like Apple Music pay a pittance; to make just £1,000, you need around 250,000 streams. With greater power in the hands of corporations than ever, independent record shops have become integral in keeping the art of the album alive. In Brighton, we’re spoiled, but Resident Records has become arguably the most integral record store to the city and to the many artists that come through its doors: this year alone, they’ve hosted Jeff Goldblum in-store, Kneecap at Chalk and Fcukers at Patterns. Eclipsed perhaps only by Banquet Records’ legendary Pryzm shows, Resident provides an everybody-wins model: the artist gets an album sale, the attendee gets an affordable, intimate show
Stepping onto the Resident shopfloor’s hallowed stage tonight is Julia Jacklin. Some ten years into her career, the Australian troubadour marries porcelain vocals with elegiac lyrics. Her earnest approach feels cut from the same cloth as Adrianne Lenker’s Kintsugi approach to treating the trauma of the break with as much vitality as the beauty of the repair.
“You may have noticed the pre-signed prints… She isn’t very well,” a Resident employee announces on the stage, moments before Jacklin arrives to seemingly never-ending cheers from a crowd largely sticking to the perimeter of each aisle. One wave from her only increases the volume.
“Got to remember how music works,” Julia jokes, “British Airways lost my guitar so now I have this imposter,” she adds, inspiring pantomime boos from an audience remaining patient for a prolonged setup. After two false starts – one to retune, and one lyric error – the loving melancholia of ‘Be Careful With Yourself’ finally drifts in. Armed with just an electric guitar in a stripped-back set, the warm tones supplement a lyrical plea to stop self-destruction. Despite introductory setbacks threatening to stunt the start, the response is rapturous; Julia Jacklin owns the audience.
The following track ‘Don’t Know How To Keep Loving You’ is all bright yet pensive downstrokes, masking lyrics of pending heartbreak, despite slightly softer vocals than on the record. While this is expected due to warned illness, Jacklin coyly jokes “It’s been a while since I’ve been on a literal pedestal” – only to be met with “You’re doing really well” from a crowd member.
At the halfway point, fan favourite ‘To Perth Before The Border Closes’ is aired; an ode to change and unpredictability, its bare-bones approach allows Jacklin’s vocals to soar at the track’s summit and break through from the looping chug of her riff into something heavier and unrestrained.
“I’m only playing the old hits”, Jacklin jokes, “Shall we close with ‘Pressure To Party’? What’s the other one?” Invites audience requests in a mostly impromptu setlist, with everything from ‘Pool Party’ to ‘I Was Neon’ requested. However, Jacklin settles on ‘Don’t Let The Kids Win’ – a depressive, boom-chuck country strum, and the titular track of her first album. Despite the song’s vulnerability, Jacklin slips up on lyrics once again as another audience member comes to rescue, shouting the next line, “Two-year-olds are good at playing basketball.” While risking frustrating fans, she’s just about absolved by an understanding audience that’s happy simply sharing such a small space with her.
“I wrote that song like twelve years ago… I was right, it’s strange” she reflects on the oldest track of hers played tonight.
“This is the last one”, Julia announces to a harmonised sigh of disappointment from the crowd, “It’s called ‘Pressure To Party’. It’s on that guy’s shirt.” Ending on a bright note, it is a post-breakup anthem drenched in the indecision that accompanies internal monologue. Self-described as an “internal scream”, Jacklin’s up/down guitar strokes are met with sing-alongs of “Try to love again soon.”
Despite an uncharacteristic amount of errors, it’s commendable that Jacklin stuck to her commitments, refusing to cancel the show she’d travelled thousands of miles for, even pre-signing prints that were handed out on the way in and taking requests. Despite illness, Julia’s vocals remained remarkably unscathed across the set – earning huge applause from an incredibly patient crowd that evidently adores her. However, somewhat disappointingly, no tracks from the upcoming record ‘The Gem’ are aired with a heavy emphasis on retrospect. With tonight a rare small show from someone set to take the stage at Hammersmith’s Eventim Apollo next year, the album can wait until then – nostalgia is fine when a discography is this good.
‘The Gem’, will be released on 25th September and marks the Australian musician’s debut release on 4AD. ‘The Gem’ was produced by Jacklin and Robert Muinos and recorded entirely in Melbourne. The 10-track album will be released digitally and on CD, cassette and vinyl.
‘The Gem’ Tracklisting:
‘Brand New’
‘God Sometimes’
‘If I Had The Hand Of God’
‘The Hardest Thing’
‘Angel Vision’
‘Real Life’
‘Get Away From Me (I Think I’ll Love You Soon)’
‘You Turned On The Tap’
‘Walk On Me’
‘I Wish’ [feat. The Maes]
Pre-order ‘The Gem’ HERE.
Julia Jacklin:
Julia Jacklin – vocals, guitar
Julia Jacklin setlist:
‘Be Careful With Yourself’ (from 2022 ‘Pre Pleasure’ album)
‘Don’t Know How To Keep Loving You’ (from 2019 ‘Crushing’ album)
‘To Perth, Before The Border Closes’ (a 2020 single)
‘Don’t Let The Kids Win’ (from 2016 ‘Don’t Let The Kids Win’ album)
‘Pressure To Party’ (from 2019 ‘Crushing’ album)
2027 UK & European tour dates:
13 February – BIRMINGHAM, UK, Town Hall
14 February – MANCHESTER, UK, Albert Hall
15 February – DUBLIN, IRELAND, National Stadium
17 February – GLASGOW, UK, Barrowland Ballroom
18 February – BRISTOL, UK, Beacon
19 February – LONDON, UK, Eventim Apollo
21 February – BRUSSELS, BELGIUM, Botanique
22 February – BERLIN, GERMANY, Festsaal Kreuzberg
23 February – HAMBURG, GERMANY, Kent Club
24 February – COPENHAGEN, DENMARK, DR Koncerthuset
26 February – AMSTERDAM, NETHERLANDS, Paradiso
27 February – PARIS, FRANCE, Cabaret Sauvage
1 March – BARCELONA, SPAIN, La [2] de Apolo
2 March – MADRID, SPAIN, Sala Mon Live
3 March – LISBON, PORTUGAL, LAV
