Jeremy's Indie Music: Anna Meredith, Soup Kitchen Manchester, 24th March 2016 9/10

Anna Meredith first came to my attention when her piece froms was premiered at the Last Night of the Proms in 2008, to the disgust of some conservative observers who believe that music reached its zenith in the late nineteenth century. Happily the audience last night at her first ever gig appeared to be more open minded, and clearly had much fun. This British classical composer has apparently long held the desire for an electronic project; though she has discovered that life in world of indie, without public subsidy, is financially difficult, so her solo album was delayed whilst the completion of paid commissions took priority. When it was released earlier this month, her debut Varmints gained critical acclaim: I suspect the coveted 'Best New Music' accolade from Pitchfork helped to explain the crowded basement last night and that her London date has sold out.

The avant garde support act Mother prepared the ground with their mind expanding experimentalism. The lead singer came on stage with a plastic bag over her head, and the guitarist wore a veil: opening with a furious climax, they initially felt reminiscent of GOAT in the atmosphere they created. Yet, whilst they maintained an element of mystery, without any talk, the mood soon shifted, the wide dynamics of classical music being invoked during long, delicate female vocal passages. To this were added crunchy, deep bass synth and electronic effects, and a compelling freedom of movement and dancing. I'm so appreciative that this at times bizarre Manchester act stretch the boundaries of convention, and like Anna Meredith they encompass wide influences without respect for genre.

Varmints opens with Nautilus, which has a rich orchestral sound with brass: this wider soundscape immediately signals why this debut album has greater appeal for me than her two early EPs. Any scepticism about how it could be replicated in a club environment was immediately overcome: alongside the rock drummer and electric guitar were acoustic players Tom Kelly on Tuba and Gemma Kost on cello. Anna herself juggled an immense workload on keyboards, vocals, and clarinet, in contrast to her usual passive role as composer when others interpret her concept. The track Taken was sung as a vocal trio in harmony, and throughout this vigorous performance they belied the danger that electronic music adds little live. The thunderous bass gave a visceral thrill that acoustic classical music struggles to replicate, and the volume level was immersive.

There was visual interest too: Anna was expressive, helping to inspire a contingent in the audience to dance, and her enthusiasm and positive energy was clear. She talked confidently between songs, as if unshackled from the relative stuffiness of classical convention. This may have been the opening date of the tour, yet it had clearly been planned meticulously. Her sister's artwork was projected onto the screen behind the stage, the quirky animals and monsters reflecting the 'musical pests', or ideas that couldn't be shaken off, in the album's title. Varmints also benefits from a control of structure: Anna's experience in crafting extended forms (she maps out the progression of a piece graphically before writing it) gave a satisfying shape to the evening. The hour long main set consisted of all but the final song of the album, though the order was varied to guard against predictability, whilst the encore was surprisingly inspired by Celine Dion. Far from feeling derivative, Anna's unorthodox background for a producer has brought new energy into the live presentation of a popular artform, combining intellectual insight with surprising spontaneity of performance. If you're unable to get tickets for the remainder of this tour, I'd urge you to listen to Varmints, one of the most creative, unexpected albums of 2016.