Beirut, Manchester Academy, 6th September 2011 7/10

I may have been at a familiar venue, listening to music I know well, but this was radically different in feel from rock gigs: laid back and akin to a jazz band concert. Expectations aroused by the hit Santa Fe were confounded: this wasn't a party, but a showcase for amazing musicianship.

I bought my ticket on the strength of Zach Condon's recent album The Rip Tide, which was my soundtrack to a memorable wilderness adventure this summer. I found Beirut easier to appreciate outdoors by the sea, watching bald eagles fly above me, than stood in a packed Manchester venue. The mediocrity of the support act (whom I won't name) didn't help to transport me: Marcus Mumford has a lot to answer for in spawning a spate of third rate imitators. I'm all for supporting emerging bands in small venues, but as the two thousand strong crowd continued to talk above the music even after appeals from the band, we felt short changed. The fascinating and brilliant Tuneyards are supporting Beirut's London gig next week, so the promoters in Manchester had an imagination deficit.

Condon comes from New Mexico, but chose the name Beirut because he didn't feel part of the Hispanic and first nation culture in Santa Fe, and so felt the need to adopt one of his own. We heard an extensive selection from Gulag Orkestar, influenced by Condon's travels in Eastern Europe listening to Balkan folk music. He recorded all the instruments on that album himself, but now his five collaborators have become an integral part of his world, not just a touring band. The ensemble playing was amazing, giving the sense they've lived in this music for years, and trust each other sufficiently to take risks. This gave a spontaneous, improvisatory quality.

The distinctive timbre's been influenced by chance: Condon finds it too painful to play guitar due to a wrist injury, and so brass with accordion accompaniment dominates the sound. The lack of electric guitar sometimes makes it overly polite (Condon played the ukulele at times), and despite the drummer's enthusiasm, it could be bass light. It was the jazz trumpet playing which really got the audience excited, with spontaneous applause each time they let rip. Beirut also features tuba, trombone and french horn virtuosity.

I'm a former cellist though, and brass bands have never moved me: instead I was most taken with Condon's vocals, particularly on his recent material. He's assimilated and pared down a folk sound to develop a distinctive voice. This new, more direct style works: Condon may have moved away from world music, but hasn't sold out to popularity. Indeed he says he wrote the tune to East Harlem when he was 17, and recently re-discovered it. Still only 25, I'm fascinated to see how Condon develops: he's now mature enough to decide when to use Balkan gypsy instrumentation rather than letting it rip in every song, and has been able to distill the essence of Beirut's spirit into concentrated, short bursts.

The Rip Tide, live or recorded conveys a deep sense of contentment, and whilst this gig didn't match the excitement of Arcade Fire last week, I admired the band's gentle musicality and spirit. It was an experience closer to classical music, being more cerebral than visceral, yet Condon's considerable talent shines through, and I'm excited to explore his future projects.

Videos are prohibited at this venue, and still nervous from my near ejection from a recent Death Cab for Cutie gig here, all I managed was this excerpt from Port of Call.