Jack Johnson is not a performer. At least that’s the overwhelming impression that En Concert, the latest concert film to be made on the Hawaiian musician, leaves on the viewer as it documents his 2008 Sleep Through the Static Europe tour. Directed by Emmett Malloy (Brush Fire Records co-founder,) the documentary walks a fine line between the serene and the soporific, occasionally slipping into both margins. This film would have buckled under its own lassitude had it not been for the props thrown in: the rich landscape and architectural vivacity of Europe – which photography director Giles Dunning rightfully exploits – and the myriad guest artists who serve as stimulants. Hundred per cent of the 2008 tour profits and profits from the release of this film fund Johnson’s Kokua Hawaii foundation and the Johnson Ohana charitable foundation to support environmental, art, and music education around the world.

The film opens at a show in France with the bellow of a squeeze box. This charming introduction to ‘Banana Pancakes’ is courtesy Johnson’s keyboard player Zach Gill on the accordion. As the film rolls, Gill often tries to, and does, hog the spotlight with his live theatrics, from crookedly dancing with a cane on stage to playing what he calls a “dutch windmill” or “gay unicorn.” Through a bunch of performances, it’s like he is almost urging Johnson to show just a wee bit more enthusiasm, but to no avail. Johnson makes an uncomfortable subject – bland, disenchanted and wooden – as he makes it clear that he’d much rather not be in the spotlight.

This is pretty much the case through all his performances. But his music makes up for his somewhat average stage persona and more importantly, the audience seems receptive to the singer’s every nuance as girls swoon and spontaneous singalongs break out among the crowd. But any lack of energy on stage is compensated for by Johnson pulling out his surfboard and tackling waves wherever he finds a favourable current – from a river in Munich to the blue Cornish sea in Newquay.

But the film is often erratic with the performances being very loosely strung together and a sense of disconnect is inspired on various levels.

It’s from Newquay that this film starts to work some magic. After sitting out a show on account of rough weather, Johnson plays a second date at Newquay mesmerizing with a sincerely moving rendition of ‘Constellations.’ Moving onto The Hague, Netherlands, Zuiderpark, Johnson sprinkles some stardust on his performances, finally latching onto some flavour as he seems to be gaining form. But the real perks slowly roll out as the film moves along, with a swell horn section by G.Love on ‘Staple it Together,’ Matt Costa springing out of the woodwork on ‘Sunshine Someday’ and finally Johnson and Ben Harper, (predictable but very much welcome) take stage. Jamming on ‘High Tide or Low Tide,’ Harper’s deep vocals and slide solos spur a mystifying harmony, and somewhere he brings out the best in Johnson. It’s peculiar how this film builds up towards the end, and beseeches you to reconsider your first impression of it. Watching the last performance, (which is given most coverage) at Hyde Park, London, all is forgiven. Johnson obliges an encore with what seems to be a never ending medley of tracks, going solo with his twang-y guitar and most soulful serenades while the audience gives him the lighter salute. It’s the truest essence of Johnson captured, finally. He tames the current riding this sea of people, pacifying them with ‘Angel’ and just as quickly firing them up with ‘Better Together'. It's funny that when he fades out, he burns brightest