The Civil Wars, Night & Day Cafe, Manchester 26th September 2011 9/10

This magical evening was all about music in its purest form: two performers with their voices and a guitar; no backing band, and a keyboard reserved for their signature song Poison and Wine. It was also all about the chemistry of the relationship between John Paul White, Joy Williams, and the audience, expressed through music and body movement. The set and sound may be stripped back to the bare essentials, yet it is utterly captivating and all-absorbing. The authenticity of the rapport between these two performers is evident, and it was so obvious they were enjoying themselves, believing in the beauty of music with all their hearts. Take at look at some of my videos at the end of this post, and you'll see what I mean.

Joy wore her signature black dress, and John Paul White a suit, albeit without a tie for this informal setting, which they described as ‘like performing in someone’s living room'. The intimacy was a welcome contrast with the first time I saw them, supporting Adele in a 4000 seat theatre. Tonight, about 100 people were crammed into a small cafe bar, with total hushed concentration. The set, sixty minutes plus two encores, comprised their album Barton Hollow and several covers, which far from being fillers, were exquisite. They sing about unrequited love, pain, hardship, grief, laughter, and beauty. Every song is perfectly formed, with the 'swampy' title song and Birds of a Feather (with an unlikely echo of Radiohead in the guitar accompaniment) being especially stirring.

That The Civil Wars should have found such success in the USA, without major label backing, and with no gimmicks, is heart-warming. It’s a remarkable achievement for an acoustic act to reach no.1 on The Billboard Digital Albums Chart, aided by Poison and Wine's airing on Gray’s Anatomy. As with Adele's success, this shows that the public value quality. They’re also testament to the judicious use of social media: their masterstroke was to give away freely for download an early live performance (they also have a free Daytrotter session). You really do need to see them in person though to understand their magic: Joy's dancing is seductive, graceful and sensual, her smile is winning, and she makes eye contact with members of the audience.

The paradox about experiencing The Civil Wars is that the music is deeply sad, and yet you feel so uplifted afterwards, because the performance conveys such joy. This is in part due to the humorous interchanges: as they explained, contrary to assumptions, they are not married to each other, yet they the sparks between them are so serendipitous. Joy is flirtatious and playful, whilst John Paul is dry humoured. They met by chance at a song writing session in Nashville in 2008, and John Paul’s Southern country roots and Joy’s Californian pop background spark off each other to produce something magnetic.

The support act was perfectly judged: The Staves are English, yet a country influence can be heard, and they show a sensitive musicality and create sweet harmonies. They also share The Civil War's gift of chemistry: the three sisters Jessica, Camilla, and Emily from Watford show a deep  connection,  relying almost exclusively on their voices, with minimal ukulele and guitar accompaniment. They set the mood beautifully for the main act, and I'd urge you to listen to some of their music on Soundcloud (rather than My Space as they suggested). Their first album is in the works, and it's significant that I spotted Joy in the audience, clearly enjoying this gentle folk music.

I cannot agree more with my friend who wrote eloquently about the sense of peace and extreme happiness at a Civil Wars performance: you do indeed cease worrying about time and become liberated from the present. Joy talked about how lucky she felt to have spent the last month in the UK, and sincerely about the importance to them of sharing their music with us Europeans. They so clearly care about their audience, and have enough confidence in the power of music to dispense with all distractions. As Dryden said, 'What passion cannot Music raise and quell?'.

Videos

Barton Hollow

My Father's Father

Birds of a Feather

I've got this Friend

20 Years

Forget Me Not

Poison and Wine (Ending)

The magnetic Joy Williams.

30 Top Album Discoveries September 2011

Here's my latest round-up of the 30 albums which I've enjoyed most since my previous blog post in August. There's been an explosion of strong new material since the end of the summer and it's been incredibly difficult to decide which to include on this list.

The five essential albums this time are:

• Feist Metals
• Laura Marling A Creature I Don't Know
• M83, Hurry Up, We're Dreaming
• Tidelands If
• Wilco The Whole Love

AM & Shawn Lee Celestial Electric (Electronic) 6/10
This is laid back, and retro in style, since London based instrumentalist Shawn Lee has a special interest in music made between 1967 and 1973. AM from Los Angeles adds the falsetto vocals in this blend of world music, funk and pop. This collaboration was brought to my attention through the Owl Mag and whilst it doesn't engage and move me as some on this list, you have to admire this album's vibe.

Austra Feel it Break (New Wave) 8/10

This Toronto trio are masterly in their chilly intensity: this is dark, mysterious music; hypnotic. The vocalist Katie Stelmanis is a former opera student, joined by bass player and drummer. I can identify a Philip Glass-style minimalism in the use of repetition, and the singing reminds me more of the church than opera house, but this isn't pretentious art music. Some have compared Stelmanis to Kate Bush, and the Cocteau Twins have been mentioned as influences too, but she creates her own mood. This album was nominated for the Polaris Prize, and whilst The Suburbs deserved to win as an album of the decade, let alone of the year, but this is inspired in its own right.

Blind Pilot We Are The Tide (Indie Folk) 6.5/10

This is a straightforward, direct album, and whilst I admire this simplicity, it could have displayed more variety of style and tempo. I still enjoy Israel Nebeker's strong vocals, very much in the foreground, with backing including dulcimer, banjo and assorted percussion. Above all, I appreciate the beautiful use of melody, and although this album could have showed so much more creativity, it's still an uplifting experience.

Caroline Smith & Good Night Sleeps Little Wind (Indie Folk Pop) 7.5/10

This album has gradually charmed me, in part because of Caroline's seductive, characterful voice, the catchy tunes and joie de vivre. Admirers of Regina Spektor or Feist should investigate this up and coming collaboration from Minneapolis: they're beautiful, with a warm, folksy feel. My favourite track is Calliope, with rootsy influences and energetic accompaniment from The Sleeps. I'm grateful to the 185 backers on Kickstarter project who made the recording possible: the record gets stronger and stronger as it progresses.

Caveman Coco Beware (Indie Folk) 8/10

I wasn't surprised to hear that this five piece from New York has opened for Edward Sharpe and The Magnetic Zeros: a 1960's hippy haze pervades this project. My attention was drawn to this album because a trusted Twitter friend compared their sound to Other Lives, and the instrumentation can be epic sounding.  As befits the title, there's tribal drumming, and it has an elemental feeling, and conveys hope. The music itself is relatively simple, with repetitive choruses, and has a chilled out vibe as the group jam together. Be kind to your soul and buy this wholesome debut album.

Clap Your Hands Say Yeah Hysterical (Indie Rock) 8/10
Some might question whether this album is too mainstream, or too influenced by the Killers, but I found it really satisfying from the first listen. Reviews in the British press of this New York band's third album have been inexplicably critical. Perhaps it's overproduced, maybe there could have been more variety, but it's just so listenable. I love the catchy melodies and Alec Ounsworth's vulnerable vocal style.

Destroyer Kaputt (Shoegaze) 7.5/10
This is a highly original album which may divide opinion: I wasn't won over initially but as I've lived with it I've come to admire its dreamy, disconnected quality. The highlight is the atmospheric closer, Bay of Pigs,  which conveys a deep sense of sadness and regret. The whole album though is full of lush harmonies, imaginative use of electronic beats, gorgeous female backing vocals and perhaps surprisingly, melodic hooks. This a surprisingly accessible 'art' album, with a sultry feel, despite the climate of Dan Bejar's Vancouver home.

Echorev Find North (Indie Rock) 8/10
Another hidden gem I've unearthed thanks to the discernment of the Owl Mag, whose review you should read. The multi national band claims influences including Neil Young and Andrew Bird. It's an eclectic blend of 80s sound, electro beats and folk, concentrated into a tight 30 odd minute album. There are creative, experimental touches, for example from the German drummer, but this isn't difficult music. It's a great journey, relatively chilled out, with contrasting moods over its eight tracks and lovely singing.

Feist Metals (Indie Pop) 9.5/10
This is one of the year's most exciting releases, and the fourth album from this Broken Social Scene singer doesn't disappoint. It's powerfully direct, emotionally devastating, and that smoky voice is seductive. The opening The Bad in Each Other, about a dysfunctional relationship, immediately seizes your  attention, and then the less assertive ballad Graveyard has a more gradual, bluesy build up to its climax. The instrumentation is imaginative, actually not at all stripped back with strings, and even though it's meticulously produced it doesn't seem contrived. This is masterly art, and if you only listen to one new album this month, make it this one.

Gem Club Breakers (Dream Pop) 8/10
There's an affinity with Tidelands' album (reviewed below), or Other Lives, in that this is gentle, beautiful music, with classical influences. The tempo's often slow, the volume muted, and the instrumentation includes piano, cello and horn. It's deliberately understated, melancholy and spare: yet not an academic exercise, as you can relax and wallow in the space it gives you. I discovered this Boston duo through a review in The Owl Mag and I find the music emotionally powerful in its very restraint.

Girls Father, Son, Holy Ghost (Indie Pop) 8/10
This album begins with the jaunty Honey Bunny, but darker emotions are explored as it progresses. This male duo from San Francisco has quite a back story: Christopher Owens was brought up as a member of a religious cult, and I can relate to the sense of regret for a lost youth in this album. At its heart is the 8 minute Forgiveness, which culminates in a guitar solo, and betrays much pain. Some might find it too backward looking, Owens attempting to absorb all at once the musical eras he missed as a child, but for me, it does cohere and has an immediate appeal. It's a lengthy album, sometimes self-indulgent, but I can appreciate the reflective, sensitive feel: 'If you don’t have a little love in your soul, nothing’s gonna get any better'.

Grouplove Never Trust a Happy Song (Indie Pop) 6/10
This is a guilty pleasure: it's insubstantial, catchy music which will probably be ephemeral. I found it a lot of fun though, and it defies the ironic title. There are plenty of singalong choruses, hand claps, and California sunshine. It doesn't show any real development from their 2010 EP, and I don't detect the depth of Modest Mouse (whom some say has influenced Grouplove's vocals). Yet Never Trust a Happy Song has made this list because it's joyful, with a great feeling of happy, innocent collaborative music making.

James & Evander Constellating EP (Synth Pop) 8/10
This short EP from Oakland, California has a melancholy, contemplative feel yet still has an uplifting effect. There are three original tracks and two remixes here, the title track's especially beautiful and yo can stream it here. There's a strong chillwave influence, so it's dreamy, but there are catchy hooks, calm vocals and electro pop beats. I do hope they go on to produce a full length in their new style.

The Jezabels Prisoner (Indie Pop) 7.5/10
This Australian band have a rhythmically powerful, ambitiously large sound, and their first album fulfils the promise of their three previous EPs. It's dominated by Hayley Mary's rich, room filling voice which has an astonishing range of pitch. They create a distinctive, rich harmonies from drums, intricate piano playing and synth, giving an epic quality. They are not afraid to use reverb liberally, creating atmosphere, and if sometimes I'd wish they'd relax a little and breathe, this is a memorable sound and uplifting.

Kevin Devine Between the Concrete and Clouds (Indie Folk Rock) 6/10

I found this album through my interest in Manchester Orchestra: Devine collaborated on their joint side project Bad Books. This is his sixth album, and whilst it's been said that he's absorbed some of Andy Hull's angst, I still find this pretty upbeat. This is relatively mainstream: it doesn't break any boundaries, and I'd often wish for something more demanding to stimulate my intellect. The easy lyricism and natural flow are refreshing, and whilst Hull's Simple Math is more to my taste, some will adore this.

Laura Marling A Creature I Don't Know (Indie Folk) 9/10
It's wonderful to see Laura Marling developing a distinctive style on her third album. She's moved away from a pure folk style, her voice has become a little darker, and there's a jazz vibe on tracks such as the opener The Muse. Her lyrics are astonishingly mature for a 21 year old, often introspective, particularly evident on The Beast, the six minute long dark, emotional centre of the album. I was convinced of the genius of this album on my very first listen, but depths are revealed after multiple listens, and it's one of the stand outs of 2012 for me.

The Leisure Society Into the Murky Water (Indie Pop) 6.5/10
This is a bright, breezy light album: not particularly demanding, but instrumentation including double-bass, violin, cello, flute, mandolin, glockenspiel, drums and maracas adds colour. The Leisure Society has been compared to Belle and Sebastian, but this is folksy British pop centred on jaunty melody. It may well make you smile and relax, and whilst the vocal harmonies and lyrics flow so easily, it's not lacking in intelligence.

Lykke Li iTunes Session (Indie Pop) 7/10
This is a minimalist recording, and a worthy supplement to her 2011 Wounded Rhymes album (which is essential listening and where I'd start with Lykke Li). It consists of a Big Pink cover (Velvet) and some stripped down, acoustic versions of existing songs where she sounds quite vulnerable. There's also an stilted interview: the questioner reads from a script and makes no attempt to engage in conversation.She's a sensitive vocalist with a distinctive timbre, and the spare arrangements here only add to the sense of brooding mystery.

M83 Hurry Up, We're Dreaming (Electronic Shoe Gaze) 9/10
This is my first encounter with Frenchman Anthony Gonzalez, and it's an amazing journey through this expansive double album (each track on first half has a counterpart on the second). It's euphoric, dreamy, sometimes 80's tinged ambient electronica, which I found incredibly beautiful and satisfying. Of course it's full of synths and reverb effects,  but there's a real yearning, nostalgic quality. The absolute stand-out track for me is the delightful, hippyish Raconte-Moi Une Histoire, where a cute little girl talks of a frog and 'the biggest group of friends the world has ever seen'. This album absolutely sparkles, and it really is a dream like experience.

Meiko I'm in Love EP (Indie Pop) 7/10
Meiko's a talented singer song writer from Georgia, now based in LA: she creates quirky pop songs, with a wide appeal. Her style's light and easy on the ear, with catchy melodies, and whilst she doesn't break new ground, her voice is charming. I particularly appreciate the simplicity of the two acoustic numbers on this five track EP. The speed with which her latest Pledge Music project broke through its funding target shows her following, and if you can't get hold of this EP, listen to her 2008 self titled album.

Mogwai Earth Division EP (Post Rock) 7/10

This is soft, restrained music with cellos and violins adding warmth to the texture. The Scottish group Mogwai is better known for more raucous material, and this could be seen as soundtrack music: it does have an expansive, cinematic quality. Listen closely though to Does This Aways Happen and you will be moved by the sad emotional intensity. There are only four tracks here, so I'd also strongly recommend buying their 2011 London iTunes Festival EP, which is less gentle but equally thoughtful. 

St. Vincent Strange Mercy (Indie Pop) 7/10

I'm a huge admirer the incredibly creative Annie Hall, and Strange Mercy has been almost universally acclaimed in the press. There's something disconcerting about this album, which I'm sure was intentional, but as yet, I haven't yet been able to fully grasp its structure. St Vincent's quirkiness can be refreshing, and I love Cruel, but I feel that she's worked too hard to be experimental here, and has lost sight of the overall picture. I'd start with Actor from 2009, and keep a close watch for her fourth album. A track as original as Northern Lights, which starts off conventionally but becomes a crazy sonic cacophony may convince you she's already at the top of her game, but I think the best is still to come.

Samantha Savage Smith Tough Cookie (Indie Folk) 7/10

This debut album from Calgary has a bluesy, soul feel, but it's Samantha's honeyed voice that demands attention. It feels timeless, with influences as diverse as St Vincent and Billie Holiday, yet her voice combines strength and vulnerability. I was amazed to discover she is only 24 years old and this is a wonderfully natural feeling, relaxed album.

Scattered Trees Sympathy (Indie Pop) 7/10
This is beautiful, reflective music written after Nate Eiseland lost his father. It's the Chicago sextet's second album, but rather than being expressing anger about death, it's shows the maturity and growth which comes out of loss. Some may find the instrumentation rather understated, and the lyrics emotionally draining, but you can't help but admire Nate's subdued and heartfelt vocals. I emerged from the experience with hope rather than depression, and it ends up being more uplifting that you'd expect from the subject matter.

Slow Club Paradise (Indie Folk) 5/10
This is an unassuming, unshowy sophomore album from this Sheffield UK based duo. The vocal duets are charming, and the instrumentation stretches beyond acoustic guitars to include various ramshackle percussion. It's touching, charming, and there's a mixture of catchy songs and more melancholy ballads. A standout track is the 10 minute Horses Jumping; whilst this album isn't going make you look at the world afresh, it's highly recommended for lovers of British folk pop, even if the production is sometimes just too unpolished.

Smith Westerns Dye it Blonde (Indie Rock) 7/10
I saw this Chicago trio live at Reading Festival, and can confirm they are as lively and upbeat a rock 'n roll band in person as on their second album. There's a 1970's feel if course, with great tunes, and a nod to '90's Britpop. Above all you get a feel of a group of young people having fun with guitars, paying tribute to the past yet reinventing for themselves. The standout track is All Die it Young.

Tidelands If (Indie Folk) 9/10
Like the glorious Other Lives, Tidelands make a dreamy, incredibly beautiful sound, with a tinge of melancholy: I absolutely adore this album. The sound is almost orchestral, with flugel horn, guitar, drums, keyboard, violin and cello. Interestingly, Mie Araki is a classically trained percussionist, whilst Gabriel Montana Leis, also from San Francisco, learnt the flugel horn specially for this project. Like Other Lives, there's a cinematic quality to the compositions, and the array of musicians usually produce a  gentle sound, there are climaxes of startling discord. Leis' voice is distinctive, the harmonies gorgeous, and the sounds quite different to any other recent release. I found it uplifting and inspiring.

The Weeknd Thursday (R&B) 8/10
Canadian Abel Tesfay emerged from obscurity to create a sensation with his first album, House of Balloons, which I loved and has been endorsed by Drake. Thursday is the second of the trilogy, also available for free download, and it's been claimed it''s suffered from being rush released. I don't think it has the impact of the first album, but it's still tremendously atmospheric, and brilliantly produced. It's music for a late night drive home from a gig along deserted roads, chillingly raw, drawing you into a strange, shadowy world. The stand out track is Life of The Party, but it flow beautifully as an album.

Wilco The Whole Love (Indie Rock, Country) 8/10
Here, Jeff Tweedy is in a gentle, lyrical mood, with beautiful melody and harmony in tracks such as Sunloathe.  This is followed by the more upbeat, fun Dawned on Me, which exemplifies the well judged contrasts in this album. I love the American rootsy foundation to their style, and whilst I'm not familiar with their entire back catalogue, I feel this new work compares very favourably to the self-titled album from 2009. The core of the album is the 12 minute One Sunday Morning: Tweedy's voice is incredibly expressive, and it's touching. If you're a Radiohead fan, the closing Art of Almost is a must listen: it sounds as if Tweedy is an admirer of King of Limbs.

Wild Flag Wild Flag (Indie Rock) 8/10

This female supergroup has produced an album with joyful rock energy: it's tremendous fun. The stand out for me is the guitar playing, and the four part vocal harmonising, yet the drumming's vigorous, Cole's keyboard playing solid and the ensemble tight. There's sufficient variety across its 40 minutes to allow the more intelligent, quirky moments  to balance the harder almost punk like rock. This may be a new collaboration, but the four musicians' creativity is evident. It's a wild, sometimes ride which can take unexpected turns, and I'd love to experience it live.

Albums I liked but didn't quite make my shortlist include:

Canon Blue Rumspringa, The Albertans New Age, Work Drugs Summer Blood, Bombay Bicycle Club A Different Kind of Fix, Charlie Simpson Young Pilgrim, Big Troubles Worry, Yukon Blonde, John Steel Singers Tangalooma, The Rapture Love, Peter Wolf Crier, Neon Indian Mind Ctrl, Stylus Boy Whole Picture, Ladytron Gravity The Seducer, Super Heavy. Ed Sheeran +, Neon Indian Era Extrana, Tori Amos Night of Hunters, Blitzen Trapper American Goldring, The Rifles Freedom Run, Kyler England Electric Hum, Jake Newton Kill The Past, Tropics Parodia Flare

Adele, Manchester Apollo, 16th September 2011 9/10

It's fair to say there was considerable anticipation for Adele's gig. I bought my ticket in a pre-sale seven months ago, and had I chosen to sell it in the secondary market, the proceeds would have funded my concert plans until the end of the year. I became anxious after she cancelled the first half of her UK tour due to illness, and so I felt lucky to be in the Manchester Apollo on this autumnal evening.

Unfortunately, the crowd, some of whom had been queuing all day for a prime position, were too excited to listen attentively to the subtle charms of the support acts, and there was a maddening level of background noise. Through this, it was evident that the The Civil Wars has a magical chemistry, and they made tender and moving music. Fortunately I'm seeing them in a small venue in two weeks' time, and plan to write more about them then. Amos Lee also battled valiantly against the unappreciative audience, with a pleasing 30 minute set from his Mission Bell album.

The moment Adele started singing, the auditorium was electrified: it was immediately apparent this was a special vocal talent. The friend who introduced me to Adele, writer of this review, talks of how she could see the sound, and describes her tones dancing around as she sung. It's a contralto voice of remarkably rich sonority, a Stradivarius of singers, and immense natural, unforced power. This instrument is god-given, a talent which has been developed carefully but which Adele was born with, and is almost operatic in the way it fills the space (albeit with the aid of amplification).

When she talks, and she did so at length between songs, I'm reminded of the discontinuity between the lofty musical talents of the Mozart character in Amadeus and the man's vulgar, uncouth manner. This is in no way a criticism, since she's extremely witty and gives the impression of being herself, talking and swearing in a conversational manner, almost as an equal with the audience. This gives rise to empathy as she explains about her broken relationships and nervousness at playing large venues. When she mentioned the sales of 21 recently passing the 10 million mark, she barely seemed to believe herself that she's become a global superstar.

It's so heartening that Adele's achieved this huge and wide popular appeal on the basis of her musical talent: there were no Muse style gimmicks at this show, no costume changes, laser shows or release of balloons. There was an amazing crowd reaction: everyone knew the songs, and Rolling In The Deep in particular inspired a particularly enthusiastic sing along. The highlights of the 90 minute set were the the so moving and sad piano-accompanied Someone Like You, surely her finest creation to date, and the Bonnie Raitt cover I Can't Make You Love Me.

The contrast to PJ Harvey's set a week earlier in the same venue was striking: the Mercury prize winner writes far deeper lyrics, and her compositions are more complex and subtle. PJ Harvey's voice though is weak by comparison, and she relies on backing vocalists. Adele has developed immensely since the album 19 (frankly, I found some of the songs she performed from that album mediocre), but it's the delivery of the material that's so special, not her compositions per se. Adele has recently said that she's planning to spend time in Austin and Nashville whilst working on her next album. This suggests a move away from R&B towards country, and a paring back of her sound. I think her music benefit immensely from the influences she'll encounter in the American South.

If you encounter a person who's cynical about the superficiality of the music industry, all you need to do is cite Adele. In fact, I urge you to try to experience Adele live at least once, since if you ever have pessimistic feelings, you will be able to draw on the memories of a remarkable evening, when you experienced first hand a one in several million talent. Ultimately, Adele's singing makes you feel better about humanity.

Someone Like You

Lovesong (Cover)

I'll be Waiting

I Can't Make You Love Me (Cover)

Awolnation, Manchester Deaf Institute 15th September 2011 9.5/10

By the third song tonight there was carnage: a broken guitar string, a loose drum kit, and lead singer Aaron Bruno's microphone was held together with duct tape. The UK wasn't quite ready for the remarkable energy and commitment the group from Los Angeles put into their performance. This was Awolnation’s first visit to Manchester, and they put all their body and soul into making this a 'memorable evening' as Aaron’s said at the close. In fact, if you didn't have fun at this gig, there is little hope for you: it was impossible not to be drawn into the party atmosphere.

Megalithic Symphony is Awolnation's first album, but Aaron’s an experienced performer, having previously fronted Under The Influence of Giants and Hometown Hero. His charisma is the key to their live act: he was constantly dancing and moving, the crowd mimicking the moves he made on stage. I was reminded of John Gourley of Portugal The Man: not so much musically as in the energy and sense of unpredictability and danger in the performance. The audience were taking as many photographs of each other dancing as of the band: remarkably, the vibe in this small venue was reminiscent of the vast NME Tent at Reading Festival last month.  There were plenty of fist pumps from Bruno and even head banging; it all felt so spontaneous and alive.

The music felt less polished and refined than on the album: sometimes Aaron’s singing could was strained, with an almost death metal shriek, but this just added to the feeling that nothing was being held back. There is undoubtedly strong inspiration from the 1950’s, but with elements of drum and bass, metal, hip hop and electronica. I was reminded of Nine Inch Nails too, but above Awolnation have grown into an amazing rock band. The venue's name is appropriate in the sense that the volume would indeed have been deafening without the benefit of earplugs. The bass was quite remarkable: the floor vibrated strongly and the sound waves could be felt by every molecule in my body.

Awolnation’s best known song is the single Sail, and as an example of glorious unpredictability of this set Aaron left the stage before the end, leaving the other two guitarists, drummer and keyboard player to continue without him. The closing Knights of Shame was the highlight of the 60 minute show, for the way in which it unites so many musical styles, and the extended jam session. Towards the end, at the point of a change of key, Aaron took the drums, still singing, a typically theatrical move. There's quite some variety between numbers, but it's held together with catchy hooks, upbeat lyrics and above all the rock aesthetic.

This was amongst my most memorable concert experiences, despite the exhaustion afterwards from all that dancing. I was at the front of a crowd of about one hundred people, reminded once again what a magical experience live music can be. Clearly, I won't hesitate to see Awolnation again at the first opportunity, but I doubt that they'll be too many more chances to hear them in such a small venue.

Videos

Sail

Kill Your Heros

Dirty Filthy Soul

Brief Instrumental Excerpt from Knights of Shame

PJ Harvey, Manchester Apollo, 8th September 2011 9/10

PJ Harvey has no desire to live the rock and roll lifestyle. She told a reporter from The Times this week that far from celebrating her unprecedented second victory in the Mercury Prize, she took an early night so she could spend the next morning writing. Her set in Manchester had a minimalist presentation: little on stage action or dancing, subdued lighting, and not a word said by her until the last song, when she introduced her band in the most formal terms imaginable. The all-seated audience was remarkably hushed during the performances, and even though someone shouted 'congratulations' between songs, she refused to acknowledge the win. I didn't see anyone dance: that would have seemed inappropriate, even to those who, due to the absence of a support act, had spent longer in the bar than intended.

I'm seeing Adele in this very venue in a week's time, and the contrast in their approach is striking. PJ Harvey is consciously high brow, boldly stating in her Mercury acceptance speech that she set out to compose for posterity. She says she's influenced by the classical composers Part, Barber and Gorecki, but I see her as part of the tradition of masterly setting of the English language to music stretching back to Purcell in the 17th century and Britten in the 20th. Her voice is less powerful than Adele's; and yet I came to recognise through the set her ability to change its sound to suit the material. It can be ethereal, disturbing, and intentionally not always beautiful during Let England Shake.

PJ Harvey has ignored extant advice about engagement with fans : her first and only Tweet to date was in 2009, and she's said that she only recently acquired a computer, which she users for research only. She's a famously private person, maintaining a mystique around her which was reflected in her almost Victorian appearance: she wore a dark grey gown and leather bodice with an eccentric feather headpiece. She was usually static on stage, strumming her autoharp, or a guitar, and her band worked away studiously in the background, in a compelling aural collaboration, without visual distraction.

Yet, the evening was utterly mesmerising as we were drawn into her rich, vivid imagination; into an eerie, mystical world. Rather like the Edwardian composer Elgar, she evokes a sense of regret for an era which has passed, a yearning for the time before 1914 when war on an industrial scale swept away the innocence of previous generations. The music has mystical folk roots, but is richly orchestrated, with synthesiser creating a tapestry of tantalising timbres, and can sound daring and contemporary. It also has a very British understatement, requiring time and concentration to appreciate.

PJ Harvey's created a demanding piece of conceptual art in Let England Shake with beautifully crafted lyrics. She worked for over two years during 2007 and 2008 studying painters, poets, novelists and film makers' material about war before she even started work on the music. The masterly Battleship Hill imagines impact of life in the trenches, whilst Glorious Land reflects how England was build on countless foreign wars. The album is anti war without being overtly political, a protest through poetry and harmony. The second half of the 90 minute set ranged widely over her back catalogue, with highlights being Dear Darkness and The Pocket Knife; yet just before the encores, she returned to Let England Shake with The Colour of the Earth, a soldier's lament for a fallen friend.

Music and poetry are her chosen channels of communication, and she conjures up soundscapes so evocative that small talk between songs would have shattered the spell. Any anxiety I had beforehand that it would seem contrived & detached proved ill founded. I felt real shock emerging into the reality of the dark, wet Manchester night at the end of this experience after being taken to another plane of consciousness. This feeling of transportation is a sign of truly great live music making, and indeed art.

MP3s
(these were extracted from the video clips I captured, as the visuals weren't clear enough to post).
Clip 1
Clip 2
Clip 3

Set List
Let England Shake
The Words that Maketh Murder
All and Everyone
The Big Guns Called Me Back
Written on the Forehead
In  The Dark Places
Dear Darkness
The Glorious Land
The Last Living Rose
England
The Pocket Knife
Bitter Branches
On Battleship Hill
Down by the Water
C'Mon Billy
Hanging in the Wire
The Colour of the Earth
Encores:
The Piano
Angelene
Silence