Top 30 Albums December 2012

It's been some time since my last round-up so I've quite a few discoveries for you to listen to; I hope you find some you enjoy.

Iko Dazed and Confused EP (Indie Rock) 9/10
Unfortunately the Soundcloud track has been removed, but you can listen to some excepts from this EP on their homepage.

Iko's previous album, Ludo Says Hi, is amongst my favourites, and this EP provides an exciting taste of next year's full length. Their profile's been raised considerably by the inclusion of Heart of Stone in a recent Twilight film, and I find this emotional, melodic rock moving and inspiring.

Tom Odell Songs From Another Love EP (Singer Songwriter) 9/10

Tom Odell's just won the Critic's Choice Brit Award and he's been nominated for the BBC Sound of 2013. The 23 year old has recently supported Jake Bugg, and on the evidence of these 4 tracks has a raw, emotional voice, although he's classically trained. He's been compared to Jeff Buckley and is clearly on the cusp of a breakthrough.

The Weeknd Trilogy (R&B) 9/10

The three mix tapes making up Trilogy were released during 2011, yet this year's remastering increases its sonic impact. Abel Tesfay has denied being on a mission to save R&B, but the blend of styles feels innovative, and creates a sensual mood. Listened to as a whole, the weakest album, Thursday, makes more sense, and there's an almost operatic breadth to the project.

Crystal Castles III (Electronic) 9/10
Arguably, this doesn't advance Crystal Castles' language significantly, but its fractured electronic sounds are evocative of the joy of a dance tent at a festival. It stretches conventional boundaries, and if you submit, you're taken on a journey away from the real world to a place of free expression.

Passenger All The Little Lights (Singer Songwriter) 8.5/10

Mike Rosenberg is reminiscent of Ed Sheeran in his delivery, with a folky vibe. The lyrics reveal his sense of humour and his characterful voice and gift for melody reveals a real talent. It's no surprise to reveal that he funded his first album in 2010 through busking: I suspect he's captivating live.

Anais Mitchell Young Man in American (Folk) 8.5/10

Your reaction to this album will depend on how you perceive Anais' unusual voice: it's a light, nasal soprano, somewhat affected. There's no doubting the Vermont folk singer's song writing ability however, and after initial doubts about that voice, I've come to love this deeply thoughtful album. The cover picture is of her father, a writer.

Kendrick Lamar Good Kid (Hip Hop) 8.5/10

I don't often gravitate towards hop hop, but this widely acclaimed album from LA is exceptional. It's an autobiographical story: you can read an analysis of each song here. It features guest slots by star rappers and has a cinematic sweep, reaching a climax in m.A.A.d city. The delivery is virtuosic.

BOY Mutual Friends (Indie Pop) 8.5/10

There will be some who find this music too commercial and safe, but the Swiss German female duo are utterly charming. There's a Feist like gift for melody and harmony, and they will have your feet tapping. Energy comes from the instrumentals, drums and guitars, and occasionally violins and brass.

Matisyahu Spark Seeker (World Pop) 8/10

Here's a blend of cultures: the Jewish singer blends hip hop, reggae and electronic music in an accessible pop format. A times, he's moved too far towards the mainstream on this album, but Israeli instruments give a distinctive flavour, and the middle eastern beats support values of love and peace.

Terraplane Sun Friends EP (Indie Pop) 8/10

This Californian quintet combine elements of soul, Brit pop and folksy blues into an optimistic, summery six tracks. The hooks are catchy and the production reveals some unexpected sounds such as trombone along with Hammond organ. Infectiously upbeat.

Fossil Collective On and On EP (Indie Folk) 8/10

I recently saw Fossil Collective supporting The Civil Wars and their British pop folk will appeal to Bon Iver fans and Fleet Foxes devotees. It isn't the most demanding music perhaps, but the harmonies and acoustic instruments are as lovely as you might hope. This EP augers well for 2013's debut full length.

Rachel Zeffira The Deserters (Singer Songwriter) 8/10

Like Agnes Obel, this classically trained singer makes almost too beautiful, polite music for die hard rock fans to appreciate initially. The instrumentation includes flute and strings, reminiscent of faux romantic film music, and too syrupy for die hard classical fans too. But this is intended to be impressionist, feminine and pretty, so it's wise to leave any preconceptions behind and enjoy the beauty. Unfortunately her record company, clueless about music discovery, won't let me share more than the briefest of clips with you, so you'll have to take my word that it's worth buying.

Ellen & The Escapades All The Crooked Scenes (Indie Folk) 8/10

The Leeds based group will appeal to fans of Mumford and Sons, which may explain why this album has been criticised for its lack of intellectual rigour. Yet, Ellen's characterful voice and the charming melodies lift their debut album above mediocrity, and there's no doubting its fun. There's as much an influence of Americana as English folk, and it will have your feet stomping as you sing along.

Rose Cousins We Have Made A Spark (Singer Songwriter) 8/10

As an interview explains, this rootsy album was recorded in Boston with the help of Kickstarter. It has a melancholy feel as she sings 'you can't keep the darkness out' on the track I've chosen here. Her voice is wonderful, and this album's enhanced by guest appearances. A sincere, moving experience.

Rhye The Fall (Electro Pop) 8/10
The Los Angeles soul duo follow up their Open EP with ten tracks full of laid back grooves and California sunshine. It's an album to chill out to, luxuriating in the string backing and vocals which have been compared to Sade. I can also detect the spirit of The XX: this is sensual sounding.

Birds of Chicago Birds of Chicago (Roots Rock) 8/10

Birds of Chicago is a collaboration between Allison Russell, a Canadian member of Po' Girl and Chicago's JT Nero; their characterful voices blend wonderfully. There's a real sense of rootsy fun, and it's difficult to imagine lovers of Americana being disappointed with this mix of country and soul.

Willy Mason Carry On (Folk) 7.5/10

Willy Mason's third album is sad and contemplative, and often stripped back. There's no doubting the emotional depth, and the lyrics are thoughtful and reflective, with the occasional surprise such as use of a drum box. My only concern is whether at times it sounds too comfortable and mature for the work of a 28 year old.

Holly Herndon Movement (Electronic) 7.5/10

Movement is a startlingly daring proposition. You might expect it to be dry and academic given that Holly's studying music at Stanford, but she was also a DJ in Berlin for 5 years, so it's surprisingly appealing. It's experimental, and the sheer creativity of the sound causes you to question your preconceptions about what music is.

Jessie Thomas Live at Infrasonic Studios EP (Singer Songwriter) 7.5/10

This EP is a lovely compliment to Jesse Thomas' War Dancer album, and will appeal to admirers of Americana. Her voice is idiomatic, with an appealing raspy quality, and the music is bluesy. The tempos are often slow, and the vibe relaxed. Jesse's based in LA, but from Kentucky, and you can name your price on Bandcamp.

TheNewNo2 TheFearOfMissingOut (Indie Pop) 8/10
A member of this band, Dhani Harrison, is a member of Joseph Arthur and Ben Harper's Fistful of Mercy, as well as the son of the Beatles' guitarist. TheNewNo2 is a mix of rock, dub, electro, indie and psychedelic sounds. Sometimes this second album sounds a little incoherent, and whilst it's work in progress, I admire its willingness to experiment.

Bethany Weimers Harpsichord Row (Folk) 7.5/10

The Oxford based Weimers recorded this debut in her bedroom, yet it sounds remarkably polished. Above all, it's marked by lyrical beauty, and listening to this you really can escape to a magical world. Her voice, often multi tracked, is tender yet powerful, and its minimalism adds to the spell it weaves.

DWNTWN The Red Room EP (Indie Pop) 7.5/10
  This Los Angeles trio has made this EP available as a free download on Facebook, and it's a must for lovers of synth pop groups like M83. The music is celebratory and outgoing, the grooves guaranteed to improve your mood and help you imagine you're driving in Southern California, even if you're really in rainy Britain.

San Cisco San Cisco (Indie Pop) 7.5/10

This four piece from Australia produce up beat jangly pop, with boy girl vocals and a sound which is a cross between Clap Your Hands Say Yeah and Vampire Weekend. It doesn't plumb any emotional depths, but the drumming is distinctive, and the catchy tunes suggest that everyone involved is having fun. Yet, it makes too few demands and some will find it ephemeral.

The 1975 Sex EP (Indie Pop) 7/10

This EP from the Manchester based group suggests that they're experimenting with their style, moving from electro pop to rock through the four tracks. Yet, the title track in particular suggests it's worth watching out for next year's debut full length and this has an admirable immediacy.

Tift Merritt Traveling Alone (Indie Folk) 7/10

The highlight of this album from South Carolina is a duet with Andrew Bird, Drifting Alone, but even solo her voice and songwriting are idiomatic. She explores ideas of isolation, but this album explores a well trod path in alt country, following in the footsteps of Emmy Lou Harris. Charming, even if it's hardly ground breaking.

Magic Magic Roses Valley (Indie Folk) 7/10

This folk album from San Francisco seems to have remained under the radar, perhaps because it's subtle, reflective beauty doesn't immediately grab your attention. It does have an endearingly dreamy quality, transcending the simplicity of the instrumentation. The pace is refreshingly unhurried.

Gravenhurst The Ghost in Daylight (Indie Folk) 7/10

This is Bristol, UK based Nick Talbot's sixth album, and is best described as psychedelic ambient folk. It's understated and subtle, taking a while to appreciate. The atmosphere is eerie, as the title suggests, but there's also a melancholy beauty. Some may find it too sparse, tending towards shoe gaze, but despite initial impressions there is a quiet intensity.

That Certain Jessiquoi Bats (Indie Pop) 7/10

BATS is this Swiss Australia musician's debut album, and whilst Jess is at an early stage of her career, this album shows real promise. There's a playful sense of experimentation in the instrumentation, and although Regina Specktor's an influence, she has a distinctive voice both in her composition and vocally.

The Dead Ships Electric Ahab (Garage Rock) 7/10

Thw debut album from LA's The Dead Ships has a live feel: it's full of visceral energy, trading refinement for impact. The vocals are strident and forced, but are countered by their feel for melody. Electric Ahab was recorded onto analogue tape and has a vintage sound. I suspect we'll be hearing much more in 2013.

Guards In Guards We Trust (Indie Rock) 6.5/10

Richie from New York's Guards is the brother of Cults Madeline Follin. This upcoming debut album (to be released in February) is anthemic power pop with influences from the 60's and 80's. I found the production overly polished at times. Yet, it is upbeat and should appeal to fans of Summer Camp and Chairlift.

16 Commended:

• City Calm Down Movements EP
• Dead Winter Carpenters Ain't It Strange
• El Perro Del Mar Pale Fire
• Fairport Convention By Popular Request
• fun iTunes Session
• How To Destroy Angels An Omen EP
• Iris DeMent Sing the Delta
• Jenee Halstead Raised by Wolves
• Jorane L'Instant Aime
• Kids These Days Traphouse Rock
• Mary Carr and Rodney Crowell KIN
• Melody's Echo Chamber Self-titled
• The Pass Melt
• Rachel Sage Haunted by You
• Tamara Schlesinger The Procession
• The Unthanks Songs from the Shipyards
• Work Drugs Delta

Top 25 Albums 2012

This list isn't intended to be a summary of the most influential albums of the year: it's simply a personal summary of those I've most enjoyed listening to. My choices have inevitably been influenced by my favourite live experiences which you can find here, whilst you can find last year's top albums list here.

1) The Lumineers
 Some regard this folksy Americana as backward looking; I'd say it's timeless. More than any other album, it's been the soundtrack to my year, providing comfort and joy. If you only know the single Ho Hey, you really must explore the album further.

2) Grimes Visions
I didn't fully appreciate Grimes' amazing creativity until I'd seen her live, but Visions definitely rewards repeated listening. It's a blend of styles including dubstep, pop and R&B, enhanced by her ethereal vocals. This is a bold statement, sometimes challenging, but with that ability to transport you to another plane.

3) Alt-J An Awesome Wave
Alt-J's Mercury Prize win signified their meteoric rise this year. This may appear surprising in view of their quirkiness, and the acquired taste of the vocals, yet they have a gift for melody. The hooks will get under your skin, and the originality in presentation maintain your interest. If you become really obsessed, there's a deluxe version on iTunes with an extensive selection of remixes

4) Sigur Ros Valtari
I'm finally seeing Sigur Ros live in 2013, but even in the studio, they're calm, serene and spiritual. There are similarities in technique to classical music, and it's mood transforming. This is sparse, minimalist music with few catchy melodies and a penchant for crackling sounds, yet this is surely the most beautiful album of the year.

5) Sharon Van Etten Tramp
Tramp's the work of an introvert, and the mood is sombre, at least until Leonard. It's a portrait of insecurity, and the lyrics and production together with Sharon's emotional voice make it a memorable experience. It wears repeated listening well and I'm sure I'll still be returning to this in five year's time.

6) Efterklang Pirimida
This subtle Danish album reflects the dark, eerie atmosphere of the abandoned mine on Svalbard where it was recorded. The subtlety and sparseness means that it takes time to appreciate, but I love its desolate beauty. If you enjoy Sigur Ros, you might want to investigate this.

7) Fiona Apple The Idler Wheel
This isn't an easy album to appreciate initially, but it's a stark, powerful statement which pushes boundaries, not least vocally. Fiona's voice is remarkably malleable, deployed to the service of the lyrics rather than for prettiness.

8) Delta Spirit
The San Diego five piece has produced a glorious combination of new and traditional Americana in this album. It's a fuller sound than previously, including synthesiser, yet still with a nod to Southern revival and the 1960's. The effect is both uplifting and relaxing.

9) How to Dress Well Total Loss
Total Loss is dark and melancholy, the product of a period of depression following a relationship breakup and death of a best friend and uncle. The disjointed electronics and falsetto soul voice create a chilling atmosphere. Yet it's not a bleak experience: instead humanity comes to the fore.

10) Alabama Shakes Boys and Girls
This album would be in a higher position if it wasn't for it's flawed production: the thin sound is a pale reflection of their live sound. Yes it saved by Brittany Howard's charismatic vocals, and this blend of soul, garage and rock is both timeless and fresh.

11) Beach House Bloom
Beach House disappointed me when I saw them live this year, but there's no denying the perfection of their studio work. It's beautifully structured, so it works as a whole not just as a series of individual songs. It has a hypnotic effect, but just be aware that the emotional range is limited.

12) Lost In The Trees A Church Which Fits Our Needs
The album is a gentle memorial to Aaron Picker's mother, who committed suicide. Clearly it's a difficult emotional journey, yet the overall impression is one of hope, and peace, not despair. Picker's tenor voice is beautiful.

13) Trampled by Turtles Stars and Satellites
This bluegrass group is known for its high octane energy, yet Stars and Satellites is incredibly tender and emotional. Like The Lumineers it's heartwarming, and I love the melancholy aspects. Needless to say, the fiddle, banjo, and bass playing is virtuoso, and the vocal harmonies lovely. I'm excited to be seeing them live for the first time in the new year.

14) The Weeknd Trilogy
The three mix tapes making up Trilogy were released during 2011, yet this year's remastering increases its sonic impact. Abel Tesfay denies being on a mission to save R&B, but the blend of styles feels innovative, and creates a sensual mood. Listened to as a whole, the weakest album, Thursday, makes more sense, and there's an almost operatic breadth. I was disappointed in his Coachella set, so I'm hoping when him in Manchester in March, it will be a more polished experience.

15) Audra Mae and the Almighty Sound
Oklahoma's Audra Mae has amazing charisma, and this upbeat album is full of retro fun. Her voice is amazingly powerful and she blends country, swing, blues, folk and pop. This isn't delicate, reserved folk: it's an extrovert foot tapping romp, full of catchy tunes such as Little Red Wagon.

16) Calexico Algiers
I had reservations about this album on its release, detecting blandness. Yet, the bonus CD with live performances has helped me to appreciate the laid back feel, and now I love it. This is another band I'll be seeing live for the first time in 2013, and I'm optimistic I'm going to enjoy that evening.

17) Dark Dark Dark Who Needs Who
This is a beautifully melancholy album, introvert and gentle in its feel. I love the use of acoustic instrumentation including piano and accordion, and restrained drumming. The singing of Nona Marie Invie is beguiling, the mood influenced by her break-up with the group's co-founder last year.

18) Exitmusic Passage
This dark, brooding album is all about atmosphere, and Aleska Palladino's seductive vocals are set in a sea of reverb and noise. This isn't the album for a summer drive to the beach: it's more likely to make you cry with its feeling of loneliness. Yet it has a cinematic feel, and the soundscape the four piece creates can't help but draw you in with their layers and effects. Live, the duo is unmissable.

19) The XX Coexist
A gloriously introspective and understated creation. The sound is sparse, stripped back to tender emotions about love with overlapping vocals. Some may find it soporific, but it gradually weaves its way into your subconsciousness.

20) Aimee Mann Charmer
I explained in the introduction to this article that the criteria for this list was my enjoyment. Charmer isn't ground breaking, and doesn't diverge a great deal from Aimee Mann's Magnolia material, but I still love its feeling of natural, easy inevitability.

21) Crystal Castles III
III hasn't been universally acclaimed, yet its fractured electronic sounds to me are evocative of the joy of a dance tent at a festival. It stretches conventional boundaries, and if you submit, you're taken on a journey away from the real world to a freer place.

22) Lau Race the Loser
The Scottish trio's third album is captivating and surprisingly bold, reflecting their position on the experimental side of British folk. The instrumentation consists largely of fiddle, accordion and guitar, but also electronics. The combination of traditional Celtic jigs and reels with contemporary music is a glorious juxtaposition.

23) Alcoholic Faith Mission Ask Me This
Ask Me This starts with glorious close harmony part singing, and takes you on a voyage of discovery. The Danish group may have folk roots, but they are not afraid to use synths alongside acoustic strings (most notably in Alaska). I find it beautifully imaginative and the vocals are outstandingly well deployed.

24) Blind Atlas Kodiak Bear
Kodiak Bear is a local (Manchester) band, yet they deserve to be more widely appreciated by lovers of Americana. They're led by Denver native Ross Thompson, and transatlantic influences include The Grateful Dead, Dawes, Calexico and Neil Young. The album feels fresh and spontaneous, with gorgeous instrumentation including strings, slide guitar, banjo and percussion, with heartfelt lyrics.

25) First Aid Kit The Lion's Roar
This album is undeniably charming. The two Swedish sisters have been influenced more by country music than on their first album, and the gorgeous vocal harmonies delight. The highlight is Emmylou, but many of the choruses are beautiful, and this might even win over those not usually appreciative of folk music.

15 Highly Commended

• BOY Mutual Friends
• Chris Robinson Brotherhood The Magic Door
• Electric Guest Mondo
• Fanfarlo Rooms Filled With Light
• Farriers Years Ago In Our Backyard
• Frank Ocean Channel Orange
• Great Lake Swimmers New Wild Everywhere
• Julia Holter Extasis
• Kendrick Lamar Good Kid
• Lord Huron Lonesome Dreams
• Metric Synthetica
• Moulettes The Bear's Revenge
• Neil Halstead Palindrome Hunches
• The Parlotones Journey Through the Shadows
• Two Door Cinema Club Beacon

Haim, Florence + Machine, Liverpool Echo Arena 10th December 2012 7/10

It was as energising as ever, but this wasn't my favourite of the four Florence + Machine performances I've attended this year. Despite having a seat close to the stage, some of those around me didn't seem to be there for the music, and at times it was difficult to relax and lose myself. The person in front who spent much of the gig shouting down his mobile phone may have had a better experience had he listened and soaked in the atmosphere. Liverpool Echo Arena itself is on a dramatic setting by the river, but the bass was so exaggerated  it drowned out the midrange. It suffered from a comparison with the night before, when I'd been in a small venue at the front of the stage, surrounded by music lovers. The rewards of my continual new music discovery, is to enjoy artists before they get to this stage in their career.

My most memorable Florence experience was outside in the desert at Coachella in April, but the Manchester Arena performance I saw in March also seemed fresher. It was Florence's second to last date on her Ceremonials Tour,  the main novelty being a John Lennon cover performed specially for Liverpool. That's not to say that The Guardian's dismissal last week of Florence as an 'artless formula' is fair. The music can at times be bombastic, and I wished for some more light and shade during a loud 90 minutes, but the music was written for cathedral like spaces. Florence's dancing and movement through the  beautiful art deco set was boundless, and the lighting imaginative. The effect is uplifting, even if I missed some of the darker songs from her first album Lungs such as My Boy Builds Coffins. I assume it was health and safety concerns which meant that only arms rather than bodies where raised up during Rabbit Heart; beside of the crowd surfing at Reading Festival, the audience response was a little muted.

My excuse for seeing Florence again was my eagerness to see the support band, Haim, whose rise has been meteoric this year. The three sisters Este, Daniella and Alana from the San Fernando valley have been described as a fusion of nu folk and R&B, yet it was rock at the fore in Liverpool. Joined by a drummer, Daniella’s singing was charged with energy, and their stage presence and guitar playing were magnetic. I suspect they're so talented they can bring off any style of music they chose with conviction. They seemed genuinely honoured and surprised to be playing an arena at this stage in their career, and on this evidence the buzz in the blogosphere is justified. So far they’ve released only a 3 track EP, but the new songs they played from their full length planned for the spring made almost as strong an impression as Forever and Better Off. The announcement a few hours earlier of their nomination in The BBC Sound of 2013 makes me optimistic that they'll be back in the UK soon to play festivals and headline gigs.

Top 20 Live Performances of 2012

My list of top albums of 2012 has to wait until I've reviewed a final batch, but at the end of the 2012 concert season, here's my round-up of the year's top live acts. The photos can be enlarged and viewed as a slide show by clicking on them, whilst you can see the original review by clicking the artists' names.

1) Alabama Shakes, Methodist Central Hall Manchester May 10th

2) Alt-J, Royal Northern College of Music Manchester October 27th

3) Sharon Van Etten and Exit Music Deaf Institute Manchester 17th May

4) Two Door Cinema Club, Sound Control Manchester 5th September

5) Laura Marling, Victoria Hall Stoke 11th March

6) Grimes, Reading Festival 25th August

7) The Civil Wars, Manchester Academy 16th March

8) M83, HMV Institute Birmingham 21st January

9) The Deep Dark Woods, Castle Hotel 20th February

10) Wild Flag, Sound Control Manchester 31st January

11) The Parlotones, Academy 3 Manchester 16th October

12) Of Monsters and Men, Reading Festival 27th August

13) Metronomy, Manchester Academy 1 11th February

14) The Lumineers, O2 Apollo Manchester 30th October

15) Terra Naomi, Soup Kitchen Manchester 2nd November

16) Florence + Machine, Coachella April 15th

17) Dawes, Ruby Lounge Manchester December 9th

18) Great Lake Swimmers, Night & Day Cafe Manchester 30th November

19) Feist, O2 Apollo Manchester March 26th

20) Blind Atlas, The King's Arms Salford 20th June

Dawes, Ruby Lounge Manchester, 9th December 2012 9/10

Earlier during the weekend, I’d been to a classical concert. The contrast between the emotion on Dawes’ drummer Griffin Goldsmith’s face and the impassive expressions of the orchestra was striking. Any feelings The Halle Orchestra felt were conveyed through the music, rather than overtly. Griffin and his brother Taylor on the other hand lived and breathed every note, and it was utterly obvious that he was completely  absorbed. The contrast in the audience reaction too was striking: at The Ruby Lounge, joy was everywhere, whereas at the classical concert, everyone sat utterly still and silent for 40 minutes until the piece ended, when there was polite applause.

Los Angeles’ Dawes was in the UK to support Mumford and Sons on their arena tour, but I chose to see them headlining in a small venue. I wasn't surprised at the audience's euphoria: after seeing them earlier this year I wrote: From the very first few chords I felt a deep sense of well being, love and nostalgia. I can't imagine anyone not feeling more positive about life after this performance, and I felt like giving someone a hug. The key to the appeal is the heart warming melodies, harmonies and lead singer Griffin Goldsmith’s song writing skills. It’s also about stagecraft: both brothers are incredibly spontaneous and animated on stage. Taylor's strong, lyrical voice has been compared to Jackson Browne's. There was little chatter between songs, but this would have seemed superfluous when there was now three album's worth of material to chose from.

The music’s strongly influenced by the 1970’s Laurel Canyon rock of Crosby, Stills and Nash and Neil Young, yet despite its familiarity it feels fresh. This was reinforced by the fact that Dawes has just finished their third album, the follow up to 2011’s Nothing is Wrong. We were treated to several new songs, of which Something in Common was especially memorable, and as they take them on the road, I’m sure they’ll evolve. Remarkably, Taylor orchestrated a spirited sing along to a new song Window Seat towards the end of the set, and maintained the attention of the audience throughout the new material.

The band can jam, such as in the opening song Fire Away, and has the feel of a tight knit collaboration. Another review of a Dawes show said:  It was the kind of concert where you walk out knowing you will never miss another one of their concerts. The kind of night that leads to going home and staring at their tour schedule and your bank account, trying to decide if you can make it to another show on this round of touring. For the final encore, an audience member's request for A Little Bit of Everything was finally fulfilled, and it felt like a celebration of a joyful evening. You really do need to see them in person, but Dawes record their albums in live sessions to analogue tape, so reliving the experience at home will tide you over until the next time they come to your town.

Set List

• Fire Away
• You Laugh
• Time Spent in Los Angeles
• Something in Common
• When my Time Comes
• Back to Man
• Love Is All I Am
• Most People
• If I Wanted Someone
• Back Home
• Someone Will
• Moon in the Water
• Window Seat
• Peace in the Valley

Great Lake Swimmers, Night & Day Cafe Manchester, 30th November 2012 9/10

Like the Staves' album, Great Lake Swimmers' latest release rather underwhelmed me, but here the similarities end with the gig I attended earlier this week. Listed to at home, the opening track of New Wild Everywhere sounds laid back to the point of blandness. Pitchfork said that 'the band strains for exuberance' dismissing their work with a lowly 5.7 rating. Yet the energy was immediately apparent from I Think That You Might Be Wrong which opened the set. The second (title) track had even more impact, and throughout the 90 minutes I was utterly captivated, and could barely keep my feet still.

The evening had opened memorably with the Canadian support act, Dusted, consisting of singer and guitarist Brian Borcherdt and dummer Leon Tahency. He toured for six years with the electronica outfit Holy F*ck, then this year recorded a folk album Total Dust in a converted garage. The soft vocals and incandescent guitar playing suggest introspection, but passion isn't too far below the surface. The effect can be desolate, but always engagingly musical, with a lo-fi, fuzzy aesthetic.

Like Dusted, Great Lake Swimmers are based in Toronto, but they originate from rural Wainfleet west of The Niagra Falls. Their songwriter and lead singer Tony Dekker said of his project:
When I take a step back and think about what I can offer in terms of a unique perspective, it’s that relationship with the natural world. I feel it in my bones.
The sincerity of this connection's demonstrated by their support to the campaign against the Northern Gateway Pipelines in Western Canada, which threatens the priceless Great Bear Rainforest. I recently returned from a trip to northern Manitoba, to the west of Ontario, and I feel that what connects this music to the landscape is the central importance of simple melody. The instrumentation is subtly deployed and largely acoustic: guitar, banjo, double bass, violin, along with drums and electric guitar.

Great Lake Swimmers has been compared to Americana such as Fleet Foxes and Will Oldham. There's no doubt that 1970's country rock is influential here, but it's combined with traditional folk, in which I detected Celtic, and specifically Scottish roots. This may have been due to the virtuoso violin playing of Miranda Mulholland, whose reels had my feet tapping throughout. She also makes an important contribution vocally, her voice intertwining delightfully with Dekker's.

I prefer their 2009 album Lost Channels (which was nominated for the Juno and Polaris prizes) to this year's, and we were treated to my favourite song from it, Palmistry. The highlight of the show though was Still, also from Lost Channels, performed acoustically, unmiked, in the middle of the crowd as a sing-along. This may rate as the most memorable encore I've ever experienced, especially given the tiny venue. In the middle of the set we heard a solo version of Changing Colours from Ongiara, followed by the more recent Changes with the Wind, during which Dekker was gradually joined on stage by his fellow band members. Another highlight was the spirited Ballad of a Fisherman's Wife.

The overall impression was one of unalloyed joy: it was so wonderful to observe Miranda's beaming smile throughout, and it's clear that there's no where in the world these musicians would rather have been than touring, spreading their love of nature through music. After this experience, I can now appreciate New Wild Everywhere more fully, and whilst the production may have smoothed its edges, live they are an utterly absorbing experience. In fact, I was taken back to one of the very first concerts I attended by Iron and Wine, when my eyes were first opened to the joy of live music. I feel a particular affinity to rootsy American, but even objectively this was unmissable.

The Staves, Ruby Lounge Manchester, 27th November 6/10

Sometimes I'm so excited before a gig that there's a danger of disappointment, but tonight the risk was of a lack of enthusiasm. I booked for this sold out show several weeks ago, on the promise of The Staves' début album. Yet, on listening to Dead & Born & Grown for the first time last week, my expectations for tonight plummeted, due to its musical conservatism. The three sisters from Watford have played safe, despite the production skills of Glyn and Ethan Johns. In an effort to please middle England, they haven't attempted to push any creative boundaries. Laura Marling moulds a similar blend of British folk and Americana into a more engaging form, whilst for genre stretching excitement, they could learn something from the impact of Los Angeles' Haim (to feature on this blog shortly).

First on though was Luke Sital-Singh, a singer songwriter from New Malden, London who performed solo with guitar. He ambitiously cites influences of Fleet Foxes, Josh Ritter and Damien Rice, yet it is Bon Iver who's utmost in the mind thanks to the falsetto vocals. He gave an emotional performance, the singing predominantly quiet. This takes courage to bring off, and stood at the front I could sense some nervousness. He reached climaxes of great passion, sometimes at the expense of accuracy of intonation (but perhaps I'm judging from a classical perspective). I see a performer near the beginning of his career with great potential, and as he gains more experience he will refine his presentation. Even now though, he has the ability to seize the audience's attention with his subtle musicianship and surprising energy.

Tonight was my first live music experience after travelling to pursue one of my other interests. I was hoping for some magic, my soul being in need of revitalisation. The Staves gave an exceptional performance vocally, their blend absolutely impeccable and naturally unforced. Coping adroitly with some somewhat inappropriate banter from an inebriated audience member, their chatter between songs set up a warm rapport with the audience. The group's colourful language broke the ice, yet I wonder if it was a subconscious attempt to compensate for a lack of edge in their music. The highlights of the short set were Mexico, for its charming melody, and the Wisely and Slow which was sung a capella by the three sisters in a huddle at the centre of the stage.

The audience for this sold out show was remarkably hushed, in fact captivated, despite being squashed into the small venue. Their recent support for Bon Iver has raised their profile, as did the Civil Wars’ advocacy last year. After seeing The Staves in April at The Deaf Institute, I had concerns about the music’s lack of substance, writing that it was too comfortable, lacking variety of mood. Sadly their new material hasn't altered this judgement. They do have considerable vocal talent, and with such skill in the classical world they’d be able to interpret the masterpieces of the last few hundred years. Yet, in the pop world, we expect our performers to be composers too. An exception is the performance of covers, and this set could have benefited greatly from inclusion of some of these, in the manner of First Aid Kit.

The Staves are accompanied by both a drummer and a bass player on this tour; they remained subtlety in the background. David Bryne’s points out in his excellent book How Music Works that classical musicians often have difficulty playing popular music because they're deceived by its apparent simplicity, and so miss the subtleties. The Staves certainly understand such nuances, and in consequence perform with touching sensitivity. Yet, they left me waiting for the revelation which didn't arrive: it was gorgeous but earth-bound experience, a voyage which failed to make orbit.

Set List

• The Motherlode
• Icarus
• Pay Us No Mind
• In The Long Run
• Facing West
• Tongue Behind my Teeth
• Mexico
• Wisely Intro
• Snow
• Eagle Song
• Dead and Born and Grown
• Winter Trees

Terra Naomi, Soup Kitchen Manchester, 2nd November 2012 9/10

At the end of an exceptional week for live music, I found myself in a dimly lit basement in Manchester's Northern Quarter listening to one of my favourite artists. It was a characteristically chilly and wet night, yet as soon as Terra began to play, thoughts of the outside world melted away. The atmosphere was distinct from that in Liverpool where I saw her in February: there was an incredible hush from the outset as the audience were mesmerised. An indication of great musicianship is the confidence to play quietly: Terra sensed the rapt concentration in the room, and in holding back communicated all the more powerfully. Jenny, an extrovert song on her first album, was exquisitely delicately shaded here. The conductor Stokowski's quote: "A painter paints pictures on canvas. But musicians paint their pictures on silence" seemed apt.

 

I'd seen The Civil Wars two day's previously, and I was struck by a similarity in the ability to exploit simplicity to express feelings directly. It's actually incredibly difficult to perform simple music to a high level: many pianists will tell you that they're terrified of playing Mozart, because they feel exposed. Terra's 2011 album To Know I'm OK was produced by the renowned John Alagia: whilst the songs there are brought to life with skilful, elaborate arrangements, Terra's acoustic tour is to me even more moving for being stripped down. You can experience this for yourself on a live recording from this year's first European tour, available on iTunes.

There is no doubting Terra's authenticity: she sings about life's challenges, be it a broken heart or issues with drugs. She shares a piece of her inner self in each performance, and talks eloquently on stage about the events and experiences which inspired each song. I found the Vicodin Song, written about the drugs she was prescribed after a car accident, an early highlight of the set, enhanced by lovely piano self-accompaniment. She then explained that In The Summertime was inspired by a 'happy funeral'; this showed her gift for haunting melody. The evening was marked by spontaneity: there was no set list, or formality, just the music.

Terra was classically trained, and it was her pure, pitch perfect soprano voice which captured my attention two years ago when I was first exploring indie music. Yet, in Manchester, I was most struck by her sensitivity: those nuances, pauses, rubato and micro dynamics which are instinctive and have such a powerful effect. She's been touring Europe for some weeks now, and I think that the experience of sensing the reactions of contrasting audiences each night has deepened her performances. Even a happy song, You for Me, was performed at a more relaxed pace than I've previously heard it, retaining its delicacy but with a poignant side. Yet an outstanding cover of Billie Jean illustrates her versatility.

I feel incredibly privileged to be able to see a performer of Terra's calibre in a venue of this size. In 2007, she played Say It's Possible at Live Earth in Wembley Stadium (conveying a message about climate change which has become even more relevant and urgent). Yet she's guarded her integrity, and resisted compromising artistic integrity for commercial 'success'. The new songs she performed in Liverpool convey show an undimmed creativity: I particularly enjoyed the one inspired by a self confessed fickleness of attraction to men. An hour and a half passed in an instant, but left in my memory at the close was a tender, heartfelt performance of I'll be Waiting which brought a tear to my eye. As the composer Delius said, "Music is an outburst of the soul".