Saturday, March 29, 2014

Wild Beasts, Albert Hall Manchester, 26th March 2014 7/10


This was not a gig notable for between song chatter: we were in that slightly awkward zone of introverted males amongst strangers, not quite sure how to make conversation, which I can identify with. However, about half way through Wild Beasts' set, front man Hayden Thorpe expressed gratitude to the 2500 Mancunians in the sold out venue, recalling a story from their earlier days when they played to 20 people in The Roadhouse. Apparently, someone had written over their faces on a poster with an expletive which Hayden assumed was a reference to their lack of aesthetic appeal. Ironically though, last night's event ended up being more notable for its visual impact than aural qualities.


Opener East India Youth, the stage name of  Bournemouth's William Doyle, belied the assumption that electronic musicians lack stagecraft. He demonstrated considerable energy and emotion both in his movements and music. Whilst his vocals were powerful, the highlight for me was when he picked up a guitar. He cites Brian Eno as an influence and there is a bleak, ambient feel. If ultimately I was affected more cerebrally than in the heart, he was a highly credible opener and an act I look forward to seeing in June at Parklife.


A friend at this gig suggested that I reviewed the venue as well as the music, as it was my first visit to Albert Hall Manchester. Even allowing for the fact I have an affinity for ecclesiastical spaces, this former Methodist Hall is visually absolutely stunning, with baroque and Gothic influences. It opened only late last year as a concert venue, and its conversion has by necessity (given a Grade II listing) preserved its character. A pipe organ forms the backdrop to the stage and stained glass adorns the walls and ceiling. It's close in atmosphere to Manchester Cathedral, but the high stage and wrap around balcony provide superior sight lines. I expect it to provide healthy competition for the similarly sized but bland Academy 1 to the south of the City centre.

Full advantage was taken of the setting with an imaginative lighting design, featuring a translucent rising sun motif behind the stage. This effort may have been an acknowledgement of the fact that Wild Beasts' music is introverted in feel, and that the band themselves eschew bold antics on stage: there was never any likelihood of stage dives or a performance in the crowd. The music has an intimate feel, its subtlety reflected in the fact that drama is held just below the surface. Hayden's falsetto voice is delivered with restraint, but is effectively contrasted with the more robust vocals of bass player Tom Fleming, who stood on the right hand side of the stage. Yet, key to their communication are the direct, honest lyrics which often articulate male desire; this was where the evening failed to live up to expectations.


The opener Reach was unsteady, and the sound impacted by feedback; surprising for such an experienced act, but perhaps reflecting the fact this was the first date of the tour. Indeed, Hayden's smooth voice was subsequently pitch perfect, and he relaxed after consuming generous quantities of wine. But the sound balance didn't improve: the provocative line 'Jesus was a woman' in Daughters failed to sound radical even in this setting as it was barely audible. Whilst Palace brought the main set to a relatively upbeat close, in the first encore Wanderlust, the thunderous bass totally obscured the vocals, although I felt that by this stage their performances had gained confidence and passion. Sadly though, there was distortion in the sound from my position on the front rail; perhaps it was better elsewhere, other I noted a several complaints on Twitter after the event.


Until I visit this venue again in May to see Neutral Milk Hotel, I have to withhold judgement on whether it is the most beautiful or frustrating in Manchester, as it's impossible to say whether the sound issues were inherent or due to Wild Beasts' engineer. The album Present Tense was released only a month ago, and has received almost universal critical acclaim. The band took a year out to write it independently, coming together in August 2012 to play their material to each other, then went away again and carried on writing. This may explain its personal, intimate feel; certainly I consider it by far their best work to date, and its beauty may even reflect the landscape of England's Lake District from where they originate. However, there isn't always an exact correlation between my favourite recorded performances and the most memorable live acts. 


Wild Beasts attract comparison with another cerebral British indie rock group, Alt-J, yet they seem less eager to impress with musical sophistication and more willing to reflect on darker emotions. Despite this, the use of lasers which befitted a rave and subterranean keyboard bass notes led the enthusiastic audience to dance in the more upbeat numbers; they've skilfully embraced the trend for guitar bands to adopt electronics. At 6 Music Festival at the start of this month, they were compromised by an overcrowded venue and again sub-standard sound; this gig had the potential to be on a different plane but just fell short despite the generous set. March has been a difficult month for me, and had to miss a few gigs. I was hoping for an escape, but this performance never quite transported me. It's unfair to compare any band with The National, yet also difficult for me to forget that experience from a happier time. I will have been literally transported to the other side of the world for my next musical encounter; perhaps that will prove to be more of an escape for me.


Set List
Reach
Mecca
Sweet Spot
Devil's Crayon
Pregnant Pause
Simple Beautiful
Daughters
Hooting
This is Our Lot
Loop
Natureboy
Bed of Nails
A Dog's Life
Palace

Encores
Wanderlust
All The King's Men
Lion's Share
End Come




Tuesday, March 4, 2014

Anais Mitchell, Deaf Institute Manchester 2nd March 2014 8/10


Anais Mitchell is one of my favourite folk singers, and Hadestown one of my most loved albums in any genre, so the chance to finally see her, in an intimate venue, excited me. Her seven month old daughter Ramona watched the start of Ned Roberts' hushed and beautiful support set, after which Anais opened with Willie Of Winsbury. This was recently voted best traditional track at the 2014 BBC Folk Awards, and is taken from her Child Ballads collaboration with Jefferson Hamer of traditional English and Scottish songs. This was a solo and completely acoustic performance, the stage bare except for a microphone and guitar, something of a contrast after large scale fervour of The National the evening before.


One of the joys of Anais' last solo album, Young Man in America, is the exquisite instrumentation, and I missed the harmonies provided by backing vocalists in the studio. The accompaniment was sparse, and whilst this provided a directness, there were losses too. Yet, to my surprise, the most effective performances were from her folk opera Hadestown, which has an ensemble cast including Justin Venon and Ani di Franco. Why We Build The Wall inspired an audience sing along, which filled the gaps in the dialogue. The lyrics to this song are powerful in an age of intolerance and over-enforcement of borders, whilst as in depression era America, the poor have suffered most from the 2007 banking crisis. Anais follows in Pete Seeger's tradition of liberal activist folk singers, and her songs often deal with the important issues of our time. 1984, from Hymns for the Exiled, was inspired by the Patriot Act, but feels even more topical and necessary today. Towards the end, she announced that all the proceeds from this tour were going to charity, to promote music in prisons and hospitals.


Above all, Anais is a storyteller. She established a wonderfully warm and humorous rapport with the audience, as comfortable retelling the previous day's sightseeing with her family as with explaining mythology. She has described her parents as hippies, who hitch-hiked to San Francisco for the summer of love and then went back to the land on a farm in rural Vermont. She is not from a family of musicians, but her father is a novelist and English scholar, and it is as a song writer that Anais shows particular genius. Shepherd from Young Man in America is based on one of his short stories, and children and parenthood are recurring themes on this album. Anais talked about the way her songs can become a self-fulfilling prophecy, now she has a child of her own.


The hour long set ranged widely through her back catalogue, and she observed that her most frequently requested songs are melancholic, and older. The early works seemed more minimal, and have fewer echoes of country music. The audience was completely silent throughout, in rapt concentration. Her voice is nasal and charismatic: a gloriously expressive, malleable instrument. A highlight was Wedding Song, as its positivity enthused the crowd, yet Anais had an open, relaxed personality throughout. Whereas St Vincent has developed a sophisticated alter ego, Anais sings with total directness from the heart, and in this acoustic setting, little stood in the way of her personality. She's planning to release an acoustic album this summer, but is also engaged in the re-working of Hadestown for an opera production (from which she performed a new song last night). Much though I appreciated the tenderness of this show, it's the richness of a full scale presentation I'm excited about next time I see Anais.


Set List
  • Willie of Winsbury
  • Wedding Song
  • Why We Build the Wall
  • Now You Know
  • Ships
  • Young Man in America
  • Cosmic American
  • Out of Pawn
  • 1984
  • Namesake
  • Our Lady of the Underground
  • Lonie (new song from Hadestown remix)
  • Venus
  • I Raise My Cup To Him
Ned Roberts

Monday, March 3, 2014

BBC 6 Music Festival, Victoria Warehouse Manchester 1st March 2014 9/10

On the second day of this inaugural festival, the limitations of the venue faded, due to the sheer strength of the line-up. Thankfully too the boomy sound of Friday had been tamed, and only the restricted sight lines and lack of space on stage two continued to irritate. A wonderful day of music ended with an incredibly climax from The National, with Lykki Li another highlight.

1) PINS 8/10
The Guardian remarked that this C86 influenced Manchester band sound as if they come from New York; there are also echoes of Best Coast. Yet their live act has matured immensely from their early days, and they're now incredibly tight sounding and energetic. For locals, the BBC's 'Introducing' label seemed superfluous, yet they are now ready for wider attention.

2) The Staves 7/10

The trio of sisters from Watford were joined by a a drummer and bass player, yet their beautiful vocal harmonies still felt better suited to a more intimate space. They're currently recording a second album with  Bon Iver; perhaps they'll take more risks. They're never less than charming, but ultimately rather derivative.

Bombay Bicycle Club's recent album So Long See You Tomorrow is widely regarded as their finest yet, and I found this set on the main stage more engaging than previous festival appearances. The crowd was enthusiastic, reflecting its popular as well as critical appeal.

4) Lykki Li 8.5/10
Alas, I had only fleeting views of the Swedish singer songwriter, but the sound made it clear that her new album and the tour which will follow will be unmissable. The electronics combined powerfully with her sultry vocals; I Follow Rivers was a highlight.

5) Wild Beasts 8/10
I love this Kendal art rock quartet's new album, Present Tense, and their set was delicately poised. Ultimately, I was more impressed than moved, but I'm looking forward to seeing them later this month in a more sympathetic venue, with clearer sound, than this one. Until then, I'm reserving judgement.

6) The National 10/10
The area near the front of the stage was crammed with hard core fans, who'd attended this festival for this moment; the band flew over from Ohio just to perform their 80 minute set. It's difficult to single out highlights: Fake Empire from Boxer, Bloodbuzz Ohio and England from High Violet, and the closing unplugged singalong to Vanderlyle are amongst them. Their albums may sound melancholic and contemplative, but live they're bursting with energy Matt Berninger varied wildly between wandering around nonchalantly on stage with a drink in his had to straining the very boundaries of sanity with his antics. He was unafraid to jump into the crowd, and movingly scaled the disabled platform to perform for a lucky fan.

The inclusion of two live brass players added depth to the sound. Yet, the power of a top ranking rock band was combined with a yearning quality, which was incredibly moving. There was an astonishing atmosphere, surpassing even their High Violet tour two years ago. The person next to me who'd paid four times face value for her ticket surely cannot have had any regrets. This was an evening I remember fondly for a considerable time.

Set List
  • Don't Swallow the Cap 
  • I Should Live in Salt 
  • Mistaken for Strangers 
  • Bloodbuzz Ohio 
  • Sea of Love 
  • Afraid of Everyone 
  • Squalor Victoria 
  • I Need My Girl 
  • This Is the Last Time 
  • Abel 
  • Apartment Story 
  • Pink Rabbits 
  • England 
  • Graceless 
  • Fake Empire
Encores 
  • Mr. November 
  • Terrible Love 
  • Vanderlyle Crybaby Geeks

BBC 6 Music Festival Victoria Warehouse, Manchester, 28th February 2014 7/10


This brand new festival seemed almost too good to be true: the canny scheduling decision in a normally quiet weekend before SXSW and licence payer subsidy allowed a surprisingly eclectic line-up. The BBC's mission to give access to the arts allowed relatively inexpensive £25 ($40) tickets, which despite opportunistic touting opened up the audience beyond middle class music fans. This public indie music station, once threatened with closure by a government of philistines, was now celebrating both the BBC's move from London to Manchester, and its expanding influence with a new annual event.

I just hope the BBC will find a more suitable venue next time. A capacity of 4200 filled the venue to breaking point, and seriously impeded movement between the two stages. The lighting was impressive on the main stage, but the secondary stage was suffered from a low stage, obstructive pillars and a claustrophobic feel. Given that was still February, a choice of indoor venue may have appeared a judicious choice, but circulation and relaxation space were both absent. The food provision was diabolical, water was not on tap, and set times were kept secret from all but the few who purchased £8 ($14) programmes. Artistically, my judgement may have been clouded by the remarkable St Vincent set I'd experienced just a week earlier, but the non-musical elements of a festival can affect the atmosphere immensely. Even more important is to get the sound right, and both of Victoria Warehouse's stages suffered from excessive volume, boomy bass, and recessed vocals, an affliction evident wherever I stood.

Luke Sital-Singh 6/10
A friend commented that this London singer-songwriter's music is utterly middle of the road. I felt he was trading individuality for mainstream appeal; I was hoping to be challenged, but instead my mind wandered. His vocal performance was accomplished, and his band lively; he may appeal to fans of Josh Ritter.

Haim 8/10
Haim's energy is incredible, yet they inexplicably failed to really excite the crowd. Perhaps this was due to their early set time, but they themselves seemed frustrated that there wasn't more engagement. They're a joy to watch, and the highlight of my day, yet their set list hasn't evolved since the last two times I've seen them, perhaps because their relentless touring scheduling leaves little time to develop new material.

Metronomy 6/10
Festival favourite Metronomy faced the challenge of presenting music few of the audience will have heard before, and it wasn't until they played The Look from English Riviera that the audience started to dance, at least those with any room to move. Unfortunately, I'm not wholly convinced with the upcoming new album Love Letters, and this set did nothing to persuade me otherwise. Perhaps I was adversely influenced by the dangerously cramped conditions at the front, which necessitated a retreat to safety.

Midlake 7.5/10
After catching some of Kelis' impressive Soul set, the Texan band played a solid set on the main stage. Their sound was tight, stagecraft accomplished, and the earlier over-crowding was forgotten. Yet, it never really felt as if there was ever any danger of it straying beyond safe boundaries; perhaps aware their every note was being broadcast live to the nation, they were reluctant to risk compromising their technical perfection.

The Horrors / Damon Albarn 6/10
By this stage, I was exhausted, yet of the two closing sets, The Horrors were the more invigorating. Alas, their music isn't wholly to my taste, but here there was greater crowd excitement than I'd seen all day. By contrast, Damon Albarn's laid back charm fell flat, and felt soporific, not helped by muddy sound. Committed fans will disagree, but this felt better suited to the afternoon sunshine of Coachella than the climax of the evening.