Blind Atlas, The King's Arms Salford, 20th June 2012 9/10

Last night was a magical meeting of musical minds: I felt so privileged to observe 14 talented musicians crammed in a tiny upstairs room of a Salford pub. The atmosphere was celebratory, since this was the album launch show for Blind Atlas' début album Kodiak Bear. I can state with confidence that you should listen to this album Bandcamp and then buy it. Yet, Blind Atlas is a band you really have to see live, as their improvisatory ability when they jam together is so joyful. The last time I had this much fun was at The Deep Dark Woods' gig in February: they share roots and country influences.

The evening was endearingly chaotic, the support artists Jo Dudderidge and Adam P. Gorman explaining the late start with reference to a lengthy discussion earlier about the Napoleonic Wars. In fact they explained that their gig near Sheffield the previous week had been so drunken and disorganised that one member of the audience was convinced that it was a conceptual art piece. The Travelling Band, for whom Jo and Adam play, didn't impress me so much when I saw them last year in a large venue, yet tonight their Appalachian folk influenced material was endearing, delivered with real passion and spirit. Banjo played a prominent role, and their opening set created a warm atmosphere.

The notion of a Manchester alt-country band might sound contrived, yet singer and guitarist Ross Thompson is from Denver. They describe themselves as 'Ryan Adams fronting the Black Keys, or perhaps Fleet Foxes with a Led Zeppelin fixation'. Ross' charismatic vocals are key to the sound, alongside Helen Temperley, who did much of the between set talking. She played violin, keys and provided vocals, most notably in The Ballad of Uncertainty. She's a classical musician, playing the viola to a high level, teaching, and writing her own contemporary classical compositions.

Part of the joy of this show for me was its inclusiveness: it bridged the artificial divide between musical genres. A string quartet accompanied several songs, whilst two African drummers provided a compelling tribal feel for Iron Wall and the upbeat, energetic 4th Street. It was also a delight to see bass player Cameron Baxtor using a violin bow. Just before the show, a Los Angeles blog posted an article 'Top Ten Classical Music Albums for people who don't know shit about classical music'. This is a worthy attempt to break down barriers, and the respect rock groups such as Blind Atlas shows towards classical music is all too rarely reciprocated. Occasions like this one remind you of the universality of the language of music and the worthlessness of genre labels.

Blind Atlas's material has been categorised as Americana or country rock, but this is an over simplification. This set and the album from which it was taken are marked by the contrast between delicate and emotional material such as Mary Anne, and more muscular  songs, driven by energetic drumming.  Ross' slide guitar work is a delight, but for me the standout thread running throughout is a grasp of melody, exemplified by songs like Kodiak Bear or For Carol. The latter is reminiscent of Dawes, although the band cite Calexico and The Rolling Stons amongst their influences. Their music is in turn melancholy and stirring, with strong lyrics, and shows a respect for past musical traditions without being derivative.

The Neil Young influences are welcome, but it was when the Grateful Dead was evoked that time stood still for me. During moments of bluesy jamming, it seemed as if I'd been let into a utopian musical universe, and the sense of freedom was liberating. I'm discovering that the most magical musical experiences are rarely at prestigious festivals with starry performers, but in a small room with a bunch of talented people sharing their love of music and fun. I was amongst 14 musicians who were here to spread their joy and love. If only such values were more prevalent in this materialistic society.