James Blake, Ritz Manchester, 20th September 2013 7/10

James Blake grew up in Enfield, London in a highly musical household, and planned to be a professional pianist until he fell in love with electronic dance music whilst studying at Goldsmiths University. One of the highlights of this show, Limit To Your Love from his first album, shows that he didn't leave behind his devotion to the piano with this radical shift in direction. In fact, he's created a brilliant blend of the tender singer songwriter with elements of dubstep, dance and even reggae. Just this week, he revealed his collaboration with Chance The Rapper by posting a remix of Life Round Here, although this didn't influence the show beyond his 1-800 Dinosaur t-shirt.

James is not lacking acclaim from the critical establishment, his 2013 album Overgrown following the first in being nominated for the prestigious Mercury Prize. Yet seeing him for the first time, the question was how such personal, intimate music would translate to a sizeable venue. Performing as a trio with two childhood friends on guitar / keyboard and drums, the sound reverberated around the large space. Visually, an elaborate lighting setup added interest, even if mid set, chatter from the floor threatened to break the spell. Little talk came from the stage: James was slightly awkward in manner, with a very English modesty and shyness despite his 6 foot 5 inch statue. Oddly placed on the far right hand edge, with the drummer in the centre, he never emerged from behind his keyboards, or even stood up, let alone danced. As yet, he isn't a performer with the stage presence of The Weeknd or Ghostpoet.

The recent single Retrograde was the crowd's favourite, inspiring rapture from the predominantly female fans near the stage. Yet, to their likely disappointment, it undoubtedly reflects his relationship with Warpaint's Theresa Wayman; the line 'Suddenly I'm Hit' capturing the moment when he fell in love. The mood varied between the turbulent and the soothing, yet despite the musical energy, the audience didn't contribute much to the atmosphere. Not only is this cerebral music, but it's also rooted in electronica which is notoriously challenging to perform live. It was fascinating to see James doing live recording, overlapping his vocals to create layers, but deconstructing the process of the music's creation undermined some of the magic for me. It's also disconcerting to watch a drummer, guitarist and keyboard player, then hear horns leap out of the PA system: at times the visual and auditory senses contradicted each other.

So at times I was left with a similar impression to Bon Iver: beautiful, brilliant music to which the live experienced added little. It was also felt like a uneven set; at times soaring and at others dangerously close to losing the audience. But what saved the show for me were the more introverted songs like To The Last where James performed soulful live vocals. His trembly tenor voice, obtuse time signatures and use of dramatic pauses were in the end incredibly moving. The lyrics are often poignant, and it's obvious that the emotions came from his heart. This was a cerebral experience, but far from austere: ultimately his talent as a songwriter transcended his considerable skills as a producer, and overcame a lack of charismatic stage craft.

Lucy Ward, Biddulph Arms Staffordshire, 18th September 2012 9/10

Lucy Ward came to my attention through a four star review of her new album in The Guardian. Single Flame has attracted almost universal acclaim, which helps to explain why this small venue was absolutely packed last night. The 23 year old's first break was reaching the final of the BBC Young Folk Awards in 2009, and she went on to win best newcomer the BBC Radio 2 Folk Awards last year. This emerging artist's profile has recently increased further due to the depth and richness of this release.

I was curious as to how effectively the atmosphere of Single Flame's production could be recreated live, with its cello, double bass, drums, electric guitar alongside Lucy's acoustic guitar. Any concerns were dispelled as soon as she started her first song, boldly performed a cappella. She was subsequently joined by a violinist, but her voice is the key to a spellbinding performance. It's wide in range, deep in sonority, and highly expressive. Her tuning (which I'm highly sensitive to as a former cellist) was impeccable throughout, making me wonder if she possesses perfect pitch. Her singing is also extremely versatile, adapting equally well to a jazz number like Blacksmith Blues as to a folk standard like Marching Through The Green Grass.

Place is of central importance to folk music, signified by Lucy's proud display of her Derbyshire accent and Derwent Valley roots. Story telling is also at the core of this tradition, further anchoring her songs to the local history. So Alice In The Bacon Box from her first album tells a sad hundred year old true tale of poverty in Little Eaton; giving voice to an outsider and inspiring a visual artist. For The Dead Men pays tribute to past protesters, whilst engaging with contemporary issues such as cuts in public services. It was fuelled by anger around the extravagance of Thatcher's funeral at a time when austerity is affecting the most vulnerable. She felt this was such an urgent message that she released it as a single. Social media led to the song being noticed by Billy Bragg, and gained Lucy a sound track commission for a film about the human cost of the banking crisis.

Yet, the variety of mood in this set was remarkable, and humour played a central part. During the charming support act of David Gibb and Elly Lucas, I wondered if the audience was almost too respectful and passive. This all changed during their final number when they invited the everyone to sing along as a warm up for the main act. The town of Biddulph has a long choral tradition, and the room suddenly sprung to life. Lucy's manner on stage is warm and outgoing: she enthusiastically explained the meaning of each song before she performed it, and encouraged sing along choruses. This was most evident during humorous pieces such as her John Prine cover Let's Talk Dirty in Hawaiian, when she played ukulele. At times her enunciation and flamboyance during such lighter numbers reminded me of Amanda Palmer.

Lucy talked at length during the near two hour set, yet the magic of this occasion for me were the darker musical moments, when she performed her more recent, deeper songs. Highlights included Last Pirouette, based on a poem written by her father. She enthused about a love of music from her parents' generation, in contrast to her lack of connection with many contemporary genres. The lyrical Shellback was written in memory of her grandfather, and movingly portrays the emotional damage of military service, whilst Icarus is also sad, lyrical and tender. An expressive face told a story as rich as her sonorous voice, and was a joy to watch. Her friends David Gibb and Elly Lucas returned to stage for the encore, a cover of Bob Marley's Everything's Gonne Be Alright, a message which for all the darkness in the world felt true, when music has such power of healing.

This show was part of a long standing series put on by Biddulph Up in Arms folk club, who provided a warm welcome and excellent organisation. You can listen to some excerpts from Lucy's new album below. Meanwhile, I'm excited about her plans to tour next year with a full band.

Portugal. The Man, Night & Day Cafe, Manchester Friday13th September 2013 (N/A)

When I discovered one of my favourite bands was finally returning to a small venue in Manchester, I was so excited I was probably the first person to buy a ticket. Having just released an album called Evil Friends, the Friday 13th date seemed apt. Portugal. The Man's show at The Roadhouse in March 2011 made an incredible impression, whilst eight months later they played one of the most memorable gigs I've experienced at The Deaf Institute. PtM were also one of my highlights of this year's Coachella, so there was no hesitation in queuing for 3 hours to secure a place at the front. Heavy rain did nothing to dampen my spirits, serving only to remind me of my time in Alaska earlier this year and contemplate the impact of such awesome wilderness on musicians. The support band Sundara Karma from Reading also made a strong impression, belying the fact that they're all just 17 years old, and so too young to drink at Night and Day Cafe.

After Portugal. The Man finally came on stage, it was clear that they more than compensated for the lack of their usual lighting rig, lasers, and fog machine with incredible sonic energy. Those distinctive falsetto vocals were recessed from my position at the front, but I knew most of the words already. It was perhaps the stage layout that dictated Zach Carothers acted as the frontman, but John Gourley did seem to be suffering from the heat in the packed and tiny venue. Yet, this is a band who are totally committed live, putting all their soul into the performance, and they quickly transported me to a different plane. Far from a run through of the album, they stretch and improvise their songs in a wondrously spontaneous whirlwind of sound. The guitar solos were epic, and angular rhythms showed their impeccable ensemble playing as they worked themselves into a frenzy.

This freedom from the constraints of the studio makes what transpired next even more perplexing. The Evil Friends album has attracted generally favourable reviews, and so it's not surprising the set leaned heavily on its songs. There have been a few dissenters, yet even the often pretentious Pitchfork ultimately understood that this was the band's next phase of development, an important progression. When Danger Mouse approached them, Portugal. The Man abandoned the album they were already in the studio recording and started afresh. Gourley has described the relationship as a collaboration so close that Brian Burton had joined the band. This has resulted in an infinitely richer sound, trading some experimentalism for colour and harmony. It's also a personal statement, dealing with the bands relationships with each other; such is their perfectionism that Gourley said: 'The last record almost killed us. This record almost killed us. Every record pretty much almost kills us'.

Yet, the overwhelming impression on this Friday 13th was that Portugal. The Man can rock: the notion they had sold out to a pop gloss was preposterous in the face of a barrage of raw energy. This didn't stop a clearly inebriated member of the audience shouting repeated expletives about Danger Mouse. Following a performance of Modern Jesus, he began to call for songs from their 2006 debut, Waiter: "You Vultures". This clearly struck a raw nerve, and Zach explained that Danger Mouse was real to them right now, whilst returning the insult. Less than an hour after they came on stage, it was all over, encores a distant hope. I fear that Manchester may have a long wait until the Alaskans return again. This is an incredibly hard working band, who tour and record relentlessly, but this felt in vain given their reception. They later Tweeted about the idiocy of shouting at someone with a microphone.

Yes, Evil Friends is a darker album than In The Mountain, In The Cloud, but it's built on psychedelically spaced out vocals and with its wonderful choruses has fun, not anger at its heart. The Beatles are one of their key influences, yet this Friday 13th, love was in short supply. Another gig goer made clear by reference of my appearance that I was out of place in this trendy, metropolitan venue. He was just as lacking in inclusiveness as classical music fans excluding those who chose to dress informally. I'm left failing alienated such values, and despite waiting 48 hours to write this review, I still feel too upset to attempt to analyse the set in detail. Yet I did manage to listen to Waiter: "You Vultures" for the first time in ages. Yes, its stripped back sound is bold and direct in impact, but their development in the past 7 years has been wholly positive. That doesn't stop me wanting to forget this evening though, and questioning my heartfelt belief that music is necessarily a force for good.

Top 25 Albums September 2013

I'm returning to my music blog after a summer break when my attention was turned to matters ursine. The time which has elapsed since my last roundup and an exceptionally strong autumn release schedule have given me more than usual difficulty in narrowing the selection down to 25, so I've had to be ruthless in pushing albums to my 'commended' section.

1) The Civil Wars self-titled (Americana) 9.5/10

This already sad album is made all the more poignant by the knowledge that The Civil Wars will not be touring it, and that it may be their last joint creation. Their strife has given it an edge lacking in Barton Hollow, and is a near perfect valediction. It's overwhelming tragic, full of regret and emotion; outstanding.

2) Volcano Choir Repave (indie folk) 9/10

Repave is compensation for the fact that Bon Iver is currently on hiatus. it's a beautiful album, with Justin Vernon's familiar falsetto, but compositions largely by his colleagues from Wisconsin. The highlight is Alaskans, but the whole is full of subtleties that reward close, repeated listening, and still sounds like a sequel to last year's stunning self titled album.

3) London Grammar If You Wait (indie pop) 9/10

The haunting singing of Hannah Reid combined with ethereal, XX like electronics have already made this album a favourite for next year's Mercury Prize. Some critics point to a lack of variety in the songs, yet its poignant beauty cannot be ignored. If You Wait has an otherworldly feel, and its simplicity is testament to the power of understatement.

4) The Weeknd Kissland (R&B) 9/10

It took several listens until I was convinced about the genius of Abel Tsefaye's first major label album. There's no doubting the production quality, which is so intricately layered that I wonder how he'll recreate it in a live context. Yet, it feels more homogeneous and mainstream than those shadowy mix tapes, less edgy. In the end though, it weaved its sensual spell over me, confirming Abel is indeed the saviour of PR&B.

5) Money The Shadow of Heaven (indie rock) 9/10

The Manchester group's debut album has bowled me over with its moving, shadowy, romantic sound. It's hazy and reverb soaked, Jamie Lee's falsetto voice sounding vulnerable and heartfelt. Whilst the atmosphere can seem bleak, it's beauty weaves a magical spell, gaining in profundity on repeated listens.

6) Typhoon White Lighter (indie rock) 9/10

This 14 piece band from Oregon is notable for its Arcade Fire like variety of orchestration and unexpected changes of tempo and melody. Occasionally I found it a little bombastic, but the overwhelming impression is one of heartfelt emotion. The Beirut like horn section is particularly effective, and whilst this is far from minimalist, the melodic energy is hard to ignore.

7) Julia Holter Loud City Song (indie pop) 9/10

Julia Holter's background in classical music is evident in here, but don't assume this is a dry, academic exercise: it's actually an explosion of creativity. Loud City Song is a concept album about LA, with an experimental, feel, the product of a fertile imagination. It sounds gorgeous, with a wider palette than her earlier records. It's definitely worth making the effort to immerse yourself in her world.

8) Nine Inch Nails Hesitation Marks (Audiophile Mastering) Industrial 8/10

I've written before about the surprising parallels between industrial and classical music: substantial art like this requires an investment in time and concentration before you can fully appreciate and understand it. Trent Reznor has produced an audiophile mastering of Hesitation Marks which helps you do just this at your leisure, with not just higher bit depth but a wider dynamic range. It may sound initially quieter, but there's far more contrast between loud and soft, which brings me back to the comparison with classical music. Hesitation Marks isn't a radical diversion in style from NIN's earlier work, but post hiatus the anger has been softened slightly. Reznor's creative fire is burning as strongly as ever.

9) Laura Veirs Warp and Weft (indie folk) 8/10

Recorded whilst the Oregon singer was pregnant with her second child, this is a mature album: the tempi are predominantly slow, and the songs carefully crafted. It's also a collaborative effort, with contributions from Neko Case, Jim James and members of The Decembrists. It's expressive, yet often understated, a thoughtful collection of reflective songs.

10) Washed Out Paracosm (indie pop) 8/10

Ernest Greene shows that chillwave doesn't have to sound static. Live drums and acoustic guitars significantly expand Washed Out's sound beyond electronics, and give a wonderfully lush feel. The integration of ambient sounds such as bird song is an effective touch, and the overall effect is life-enhancing and invigorating.

11) The Wild Feathers self-titled (roots rock) 8/10

This debut album provides much nostalgic fun: one reviewer said it sounds as if Tom Petty, Glenn Frey, and Ryan Adams all had a child together. They've produced an ideal upbeat rock album for a road trip, with great guitar work and vocal harmonies. Just don't expect too much originality.

12) Houndstooth Ride Out The Dark (indie rock) 8/10

I've been captivated by Katie Bernstein's hypnotic vocals on this rootsy debut from Portland, Oregon. A slight lack of polish adds to the authentic feel, even if the level of inspiration of the song writing sags slightly mid-album. The guitar playing by John Gnowski is captivating, and I can imagine that this band would be explosive live. Not to be confused with the also excellent Houndmouth, this is a must for lovers of relaxed Americana.

13) mum Smilewound (indie pop) 8/10

I seem to have an affinity with Icelandic music, and there's no doubting the exquisite, subtle, and original feel of Múm's sixth album. It's experimental and complex, yet accessible, where angular melodies and beautiful cello and harp go hand in hand. A bonus track featuring Kylie Minogue is unexpected, as if to make the point that the unusual doesn't have to be challenging to appreciate.

14) Okkervill River The Silver Gymnasium (indie rock) 7.5/10

This album from Austin is toe-tapping, indie rock, far from revolutionary but expertly created from seasoned experts who've lived in this genre. The theme of the album is Will Sheff's upbringing in small town New Hampshire, but it's the upbeat music which sets the tone rather than the more ambiguous lyrics.

15) Old Bear Mountain Northwest Hymnal (indie folk) 7.5/10

Northwest Hymnal is an unpretentious, rootsy album, deeply rooted in the Pacific Northwest landscape which I love. It will appeal to lovers of nature and bluegrass, with plenty of banjo plucking and the charismatic voice of Wade Muncey. It's typifies a style of music you can stumble across in a small bar in Alaska; you can capture this rustic spirit on Bandcamp.

16) Coastwest Unrest High Times on Lowly Streets (indie rock) 7.5/10

I was alerted to this band from Las Vegas thanks to a review in The Owl Mag. The Fleet Foxes influences give a warm sound, enhanced by strings, and a Lumineers' like use of cello. They're a fusion of influences: predominantly upbeat, this is an album to cheer the soul.

17) Bronze Radio Return Up, On, and Over (indie rock) 7.5/10

This experienced group from Connecticut produce an extrovert, celebratory sound, stronger on catchiness than nuance. Some may find their positivity relentless, but I appreciate the folk influences, with the inclusion of banjo. Like Shake, Shake, Shake, this is a straight forward uplifting, fun record with echoes of Mumford and Sons.

18) Edward Sharpe and the Magnetic Zeros self-titled (indie folk) 7/10

ESMZ has a special personal significance, so it's with some sadness that I report that their third album doesn't quite capture the magic of that amazing debut. It lacks a standout track like Home, but is a step forward after the disappointing second effort, and there's no doubting the sincerity of their vibe. The moving final track is one of the strongest, but I wish their deliberately vintage sound wasn't so opaque. This is still a must for fans, though.

19) Snakadaktal Sleep in the Water (indie pop) 7/10
This young Australian group has produced an ethereal sounding, danceable pop record, with minimalist and shoegaze influences. I'm sure with maturity they will develop a greater variety of mood, but the pure vocals of lead Phoebe Cockburn give a dreamy air.

20) Braids Flourish / Perish (experimental pop) 7/10

Braids' second album has a wistful, experimental feel. Sometimes the Canadians' focus on lightness of sound makes the listener crave something more tangible, but there is a certain chilly, glacial beauty here. Ultimately I admire this dreamy electronica more than I love it, but it's a daring conception.

21) The 1975 self-titled (indie pop) 7/10

The 1975 are from my part of the world, and judging by their reception at Reading Festival, they're on the verge of a huge breakthrough. Their music is accessible and catchy, crafted to bring in the audience demanded by their major label. This album will provide much joy, and it's perhaps churlish to point out that a lack of originality or variety here. I wouldn't rule out a breakthrough in America.

22) Tallahassee Old Ways (indie rock) 7/10

This Americana from Boston has been unjustifiably neglected- they have a gorgeous, foot stamping sense of melody. The use of harmony adds to the emotional effect, and this roots rock album is perfectly executed, with a real sense of sweep.

23) Postiljonen Skyer (electro pop) 7/10

Postiljonen's dream pop from Sweden is heavily reminiscent of France's M83, to the extent that it might be considered to be derivative. The electronic sound is epic in its sweep, and whilst some may tire of the synthesisers, it's music to get lost in rather than analyse too closely.

24) Hayden Us Alone (indie pop) 7/10

Pitchfork disliked this Canadian album; perhaps it was too understated for their taste. Yet, it has an intimate personal feel, and I find its melancholy moving rather than depressing. A stripped down, simple and soothing album. Hopefully now Hayden's Wikipedia page no longer lists him as deceased, this album will gain some attention.

25) Still Corners Strange Pleasures (indie pop) 7/10

This British sophomore album has a wonderful sense of atmosphere, evoking the hazily nocturnal. It's influenced by the Cocteau Twins and M83 with its reliance on synthesisers, yet is stripped back. The outstanding feature is Tessa Murray's pure, haunting vocals.

20 Commended Albums

Boy and Bear Harlequin Dream
Cheyenne Mize Among The Grey
Cloud Control Dream Cave
Dirt Music Troubles
Eastbound Jesus Northern Rock
Foreign Fields Tucalosa EP
Goldheart Assembly Long Distance Sound Effects
Jason Isbell Southeastern
Jordan Reyne The Annihilation Sequence
Kissaway Trail Breach
Mree Winterwell
Natureboy The Sweep
North Mississippi Allstars World Boogie is Coming
Pat LePoidevin American Fiction
RY X Berlin EP
The Silent Comedy Friends Divide
Surfer Blood Pyphons
Truth and Salvage Co. Pick Me Up
Water Liars Wyoming
Volto Initare

Daughter, Sigur Ros Jodrell Bank Observatory, Cheshire, 30th August 2013 9/10

Daughter’s début album If You Leave was one of my favourite of the first half of 2013, so when I discovered this London band was supporting Sigur Ros at the third largest radio telescope in the world, I was delighted. However, little prepared me for how moving the experience would be. Lead singer Elena Torna stands shyly in front of her microphone, seemingly in a private world, with little overt interaction with the audience. In fact, much of the set was spent with her eyes gazing downwards, and when she did talk she explained they are rather awkward on stage. Elena also apologised profusely for mistakes in her technique, saying that she had ‘got out of control’.

This lack of control was not evident in an almost perfect performance, but in the emotional depth: I suspect like me, Elena was fighting back tears. There’s a poignant vulnerability about her heartfelt lyrics and vocal style. Diffident stagecraft only added to this sense of fragility, and I was utterly mesmerised, hanging off every phrase. The music blends folk with an ambitious, experimental use of thundering bass electronics, subtle drumming, and even Jonsi-like bowed electric guitar. There’s a dark sparseness here, as Elena explores unrequited love and damaging relationship experiences alongside her French partner Igor Haefeli on stage. Despite the pervasive darkness, Elena's shyness is endearing, and I related closely to her sensitivity. That patches of blue sky were overwhelmed by cloud during the set added to the drama. Daughter have an exquisite feel for atmospheric detail, yet there's nothing contrived here; it comes from the heart.

After this, Polica’s extroversion felt incongruous, although their performance was lively and engaging. Minneapolis’ Channy Leaneagh was all that Elena Torna was not, dancing energetically, and expressive in her facial expressions. Their comparatively extrovert synth pop, with R&B influences, was a less moving musically than Daughter’s synthesis, but was a welcome chance to recover emotionally before the main act. Whilst the stage was being set for the headlining act, we were treated to an astrophysics lecture from Professor Tim O’Brien of Manchester University, complete with a live video link to South Africa. This was apt: musical and mathematical talent are often closely aligned.

Sigur Ros’ set opened literally with sounds from space collected by Jodrell Bank and arranged by the band for the occasion. We heard radio echoes from meteors, signals from spacecraft, and the rhythm of pulsars as the enormous Lovell Telescope slowly rotated 180 degrees to face the audience. What the venue had evidently saved on parking, toilet and food facilities had been spent instead on the PA, video screen and lighting. Lasers were deployed skilfully, the visuals synchronous iwith the music's atmosphere. The green lighting during Brennistein was perhaps intended to resemble Iceland's Northern Lights. Projections onto the telescope's dish mimicked the moon, and the planet Jupiter.

This is the third time I’ve seen Sigur Ros this year: previously in March at an amazing indoor concert and in April at Coachella. Since then, Kveikur has been released, so I was expecting this more aggressive album to have a greater influence on the set list. As it was, Hoppipolla from 2005’s Takk seemed to be the audience’s highlight, and much of the material was well established. This was certainly the most visually striking of the three shows, but didn’t move me quite as much as the indoor one, where concentration was easier. I was also emotionally wrung out from the Daughter set, but that’s not to say that the ethereal singing of Jonsi Birgisson wasn't hauntingly beautiful.

As ever, Jonsi said almost nothing between songs: to do so would have shattered the hushed mood. Those around me near the stage seemed totally absorbed; there was little conventional audience interaction, as if this is music to appreciate in a private inner world. There were also echoes of the classical world in the acoustic instrumentation, notably brass and strings, giving a lush backdrop to Jonsi's charismatic falsetto. Afterwards, I felt that the set had been short, yet actually it lasted for close on two hours, testament to the immersive nature of the experience. This occasion was a one off, where a spark of creativity in an individual's mind was realised as vivid memories for several thousand people. The concert was indeed, as it had been billed, a 'Transmission', one deep into the soul.