At The Ford, WILLOW leaves behind the successful legacy of childhood to embrace her fierce independence and alternative bent in an intriguing performance.
By John Lavitt
Los Angeles, CA (The Hollywood Times) 10-30-2024
At The Ford, nestled in the Cahuenga Pass in Hollywood near Universal Studios, WILLOW (the singer favors capital letters) knew precisely what she was doing and exactly what she wanted to do. Although she clearly loved playing with conductor Derrick Hodge and the Color of Noize Orchestra to reimagine her repertoire of alternative hits, the number one focus was on her own journey to this point. On stage, what looked like a Pagan Temple was built in golden tones, and WILLOW stood from the beginning at the closed entrance to the temple. Whether playing her guitar or taking long drags off of cigarettes, she was the centerpiece in all her youthful glory.
As the LA Phil wrote in an introduction to the show, “WILLOW knows how to translate her vision to fit any mood. The 23-year-old star has shown her skills in neo-soul, psychedelic folk, and pop-punk, while her 2022 album COPINGMECHANISM found her collaborating with Yves Tumor on experimental, Deftones-influenced hard rock. On her forthcoming album empathogen, she comes back down to Earth, spinning up a meditative mix of jazz, classical, and indigenous tribal music. It’s complex, mysterious music driven by ancestral energy and committed to searching for happiness and beauty in an increasingly complex world.”
As an older reviewer who needs to learn her music better, it is hard to assess the show from a level playing field. There is no question that she is immensely talented. Whether riffing on her guitar or experimenting with a wide range of vocals, WILLOW’s charisma and presence radiated on the stage. Still, her energy seemed to be drawn inward in the stillness of the more profound moments. Watching her is like watching a battle between Hollywood entitlement and 21st-century wokeness. What she says and what she conveys are not entirely congruent.
Her band is gifted but could have meshed better with the conductor Derrick Hodge and the Color of Noize Orchestra. Although WILLOW complemented them profusely, the set-up was not designed to allow the Color of Noize Orchestra to shine. Placed in front of the orchestra, the drums were overwhelming at times, drowning out the finer points of the orchestral pieces. The bass player is powerful and energetic, but it often felt like he was playing with another band. The guitar player showed virtuoso moments but sometimes drifted away. Finally, the talented keyboardist seemed almost bewitched by WILLOW’s performance, and his focus was squarely on her from beginning to end. Overall, it did not feel like a cohesive unit.
Of course, WILLOW is known as the child of Hollywood Royalty. Her parents, Will Smith and Jada Pinkett Smith, are famous for giving their children every opportunity to realize their dreams. At ten years old, she embarked on a musical career with her 2010 single “Whip My Hair”, which peaked at number 11 on the Billboard Hot 100. In the LA Phil Introduction, they also wrote that she would “reimagine hits like ‘Whip My Hair’”. I must admit that I was excited to hear her version of the song that set her on the path to stardom. However, she did not play it. Once the Temple Doors opened after the last song, WILLOW walked through them and disappeared. There was no encore or coming back once she had left the stage. After an energetic and emotional show, it felt a bit like a disappointment.
