London Grammar Manchester Academy 1, 30th January 2014 9/10

Music is such an abstract form that commentators unsurprisingly use other acts as terms of reference. In London Grammar's case, The XX is often mentioned, perhaps because of their shared ethereal qualities. Yet last night in Manchester, it was Florence Welch who came to mind, as this rising trip-hop group is dominated by the powerful yet pure voice of Hannah Reid. The trio was formed from University friends Hannah and the guitarist Dan Rothman, joined in Nottingham by classically trained keyboard player Dot Major. They effectively acted as backing for Hannah's emotional songs such as Wasting My Young Years, about a former boyfriend. Her soprano vocals are influenced by 1970's folk, but were pitch perfect and operatic despite the generous reverb. Musical talent of this statue demonstrates how fundamentally misunderstood she was by a BBC Radio 1 employee, whose Tweet about her appearance in September provoked a debate about sexism in music.

The Guardian alluded to the trio's middle class background by saying: 'This is not the sound of three angry kids busting out of a council estate burning up to rail at great volume against life's iniquities'. London Grammar's on-stage demeanour is indeed polite, and the 2500 strong audience listened appreciatively, if not without background chatter. Yet it would be a mistake to infer that they are lacking in power or passion. Songs which feel understated and homogeneous on their album slowly build into powerful climaxes; Flickers especially rocked. Hannah has suffered from stage fright, and her eyes were often closed. Yet she was clearly moved, and her reticence was as endearing as Elena Torna's for Daughter. As she gains in confidence and experience, she'll learn to move around stage more freely, but her natural introversion channels her amazing emotional energy into an intense musical performance. This reticence has wisely deterred the group from sharing every detail of their lives on social media, but I'm sure they'll become more demonstrative on stage to engage audiences in larger venues.

Outward reserve hasn't hindered London Grammar's meteoric rise: this, their largest headline gig to date, sold out immediately, and their album If You Wait reached no. 2 in the album charts in the UK. I'd been eagerly awaiting to see them after they had to pull out the Dot to Dot Festival last May. Their collaboration with Disclosure has aided this rapid ascent, and hints at a possible future direction for London Grammar. Slowed down echoes of dance permeated the set, aided by percussion with a stronger rhythmic drive than the XX. The closing part of Metal and Dust finally got the crowd moving and hinted at their potential for large stage festival appearances. Their immense beauty was epitomised by Hannah's piano ballads and the stately, atmospheric Kavinsky cover Nightcall from the Drive soundtrack. Yet, despite the Arctic temperatures inside the venue, the musical energy belied the slow tempos and British reserve on stage. This intensity was reinforced by an imaginative lighting design with cinematic spotlights.

Regrets about the inevitably short hour long set were counterbalanced by the highly credible support acts, even if Josh Record's wash of sound, with Fleet Foxes vocal harmonies, was too earnest and sentimental for my taste. Opener Kyan's soul sound, influenced by Stevie Wonder and Prince, was more engaging, and enhanced by the producer's electronic compositions. It is London Grammar who will remain in my memory though: live, they bely critics like Pitchfork who've found them too polite. Even on record, they've struck a strong chord of popular appeal with their mix of sadness and serenity. The group is at a crossroads: will they progress to play arenas, or become a niche footnote in music? Hannah Reid's vocals reminded me of Adele's, for all the contrast in their background and personality. Live, both are able to hold you spellbound with the power of their voices, suspending time and transporting you to another dimension. If there's any justice, and her merits are judged in musical terms, Hannah Reid will become another national treasure.

Set List

• Hey Now
• Darling Are You Gonna Leave Me
• Interlude
• Shyer
• Wasting My Young Years
• Flickers
• Sights
• Stay Awake
• Nightcall (Kavinsky cover)
• Strong

Encores

• If You Wait
• Metal and Dust

Hannah's Set List

Josh Record's Set List

Lindi Ortega, Manchester Deaf Institute, 24th January 2014 8/10

Lindi Ortega's last show in Manchester was one of my fondest musical memories from 2013, so I was excited to see her again in my favourite small venue. Her previous two albums were short-listed for the prestigious Canadian Polaris Prize, and Tin Star was released in October to favourable reviews. Yet Lindi's above all a live performer, more notable for her joy on stage than experimentalism in her music. Her debt to Johnny Cash is often mentioned, and indeed a cover of one of his songs came after the hour long main set. Yet she has Mexican and Irish blood, and is known for a Ramones cover, which is a sign that she doesn't fit into the mainstream country world. After an unlikely support role, she said she has found the punk scene more accepting of what the Guardian called her 'acerbic take on country'.

Tom Hickox, opening for Lindi on this tour, is as much an outsider, and probably felt so in Manchester when he explained in standard English that he was from 200 miles south. He cites Nick Cave as an influence, and his music sounds apart from many of his peers, with a 60's and 70's feel. The accompaniment also embodies the harmonies of classical music, a reflection perhaps of his late father, the renowned conductor Richard Hickox. His demeanour was reserved and formal, dressed in a three piece suit, and the subject matter serious. This is evident in the title of his upcoming album War Peace and Diplomacy, which has echoes of PJ Harvey in intent. Your reaction to his act though may hinge on his vocals, which are not at all classical in style and may be influenced by his association with Richard Hawley. Some may find it a little contrived, others serenely moving, but it's the product of struggle, his first song being written at the age of 17 when he was gravely ill in hospital. He certainly warrants further investigation.

Whilst Tom is at an early stage as a singer songwriter, Lindi spent ten years playing her local Toronto scene before moving to Nashville and touring internationally. The attention to detail in the performance betrays the depth of this experience. Most shows on this tour have sold out, and she remarked happily how much larger this crowd was than the one she played at the Soup Kitchen last March. Her reputation is growing, and one dedicated fan at the front was following her round the country, enthusiastically attending eight shows. She's an incredibly hard working musician, and diligent in building support on social media. Indeed, the title song on Tin Star is about the plight of the struggling musician, as she explained in a recent interview. Her interaction with the crowd was warm and playful, a sense of humour doing much to build a rapport. Lindi also has a distinctive visual style, wearing a veil and the little red boots which gave their name to her 2011 album.

Lindi moves and dances freely, and I noticed an increase in her presence and energy over the last year, whilst her voice is electrifying. In fact, she even danced amongst the crowd during an encore, and performed a surprise new song, Ashes and Dreams. The lyrics may be dark, about loneliness and heartache, but the overall effect is uplifting. A drummer accompanied during some numbers, but it was her amazing guitar player, James Robertson, who made the greatest contribution to the atmosphere, totally committed and often smiling. Lindi has spoken of the influence of the philosopher Albert Camus, and even written a song about her favourite painter Frida Kahlo; but an academic analysis misses the point. She provides an escape from the mundanity of everyday life, and her show is an energising infusion of joy and happiness. Her star is in ascendence: don't miss the chance to see her in a small venue.

Set List

• Hard As This (Tin Star)
• All My Friends (Little Red Boots)
• Waitin On My Luck To Change (Tin Star)
• Tin Star
• Desperado (Eagles cover)
• Demons Don't Get Me Down (Cigarettes and Truckstops)
• High (Cigarettes and Truckstops)
• Ashes and Dreams (new song)
• Lived and Died Alone (Tin Star)
• Heaven Has No Vacancy (Cigarettes and Truckstops)
• Blue Bird (Little Red Boots)
• The Day You Die (Cigarettes and Truckstops)
• Ring of Fire (Johnny Cash cover)
• No Bold Villain (Timber Timbre cover)
• Little Lie (Little Red Boots)