Lauryn Hill, Manchester Apollo, 25th September 2014 7.5/10

There’s no doubt this was a memorable night, albeit not for exclusively musical reasons. Three hours after doors, The Apollo echoed with boos. The DJ, who’d worked the crowd to a frenzy with classic 90’s hits from the likes of Michael Jackson, had apparently given up and retreated back stage. Around me, there were shouts of ‘refund’, and the atmosphere felt distinctly uncomfortable. When the band finally came on stage and started jamming, there was still no sign of Ms. Hill and the boos continued. The hall breathed a collective sense of relief when she eventually showed up in a black fedora. Yet, events were to take an even more bizarre turn: after an eccentric version of Ex-Factor, Lauryn asked the crowd: ‘Who are the dissenters?' The reply came: ‘We’re confused’ and things got awkward as she persisted in her questioning. Meanwhile, those reliant on by now rapidly diminishing public transport options started to leave the venue, and the gig trended on Twitter in, with adjectives such as ‘shambles’ being used.

This was essentially a re-run of the controversy surrounding the first show of Lauryn's UK tour in London last weekend, when she was accused of diva-like behaviour. Ever anti-establishment, she showed no inclination to compromise and bow to pressure from the press, which she perceives as uniformly biased against her. It’s also in line with her reputation in the USA, as chronicled in the article Five Stages of Grief You Will Go Through Whilst Watching Lauryn Hill. Her personal life could be described as chaotic: a year ago she was serving the end of a prison sentence for $1.8 million of unpaid federal taxes. There has been little sign of new creative output to compare to 1998’s classic album Miseducation, though it should be noted that she’s been bringing up six children in that time, and focusings on her spiritual life (reportedly worshipping five times a week, guided by a religious guru). Nonetheless, in 2007 Kanye West lamented on his album Graduation: "Lauryn Hill say her heart was in Zion/I wish her heart still was in rhymin’.”

This gossip is in danger of obscuring Lauryn’s incredible charisma on stage. Her vocal agility is incredible, and this was one of the most high energy sets I've seen this year, above all for the rapping, though the dancing was also notable. The mid set acoustic section from her 2001 MTV Unplugged 2.0 album surely should have silenced any doubters about her musicality. Memories of  seeing her at Coachella in 2011 in the Californian desert sun inspired me to invest £50 in a ticket to this show, and I feel privileged to have been able to experience such talent close to home. Happily, at least from the balcony, there was no sign of the poor sound which is said to have marred her London appearance. This electric, energising music making gave absolutely no sense of a star on the wane, and I feel a sense of intolerance around the reception she's received in the UK in the past week.

At the heart of the debate is a contradiction: Lauryn is criticised for failing to produce new material, whilst being asked to faithfully reproduce her earlier hits. Around me, there were shouts of ‘We want originals’ from the crowd, and press reaction to the UK tour has described the arrangements as ‘bafflingly obscure’, ‘unrelenting soupy soul-jazz’, ‘shouty prog. rock’ and ‘Jungle rave’. The Fugee Set section was admittedly not wholly successful, fast paced to the point of aggression, and bereft of the subtlety she’d just shown in the preceding acoustic medley. Yet, she recovered from this with a triumphant closing Doo Wap from Miseducation, and the band and backing singers were tight throughout.  Acts such as Neutral Milk Hotel, have recently re-emerged as if no time had elapsed, faithful to their legendary albums' sound. Yet, over time people develop, musical trends change, and musicians are exposed to a new mix of cultural and emotional stimuli. It's unrealistic to expect every artist to preserve their work in aspic, and classical musicians commonly re-record pieces throughout their career to present new interpretations.

Lauryn’s musical creativity is still fertile, but has been focused on a re-imagination of her earlier songs rather than wholly new material. The results may be variable, but songs like the cabaret rendition of Everything is Everything are far from unsuccessful judged on their own terms. Expectations for this gig were unrealistic: Miseducation opens after all with Lauryn's absence from class. I’d like to think that there was an element of pantomime about the booing, and it would have been far more shocking had she arrived on stage on schedule. Rebellion against authority is part of her nature, and we should celebrate the those courageous enough to stand up for their beliefs. Her rendition of Black Rage, released in response to the riots in Ferguson, Missouri, shows her feisty spirit against injustice is undimmed. Lauryn became a female hip hop star at a time when discrimination was rife, and her uncompromising attitude has been necessary to overcome these barriers. Music should lead the way in tolerance, and there must be space for eccentric one-offs like Lauryn. Her live performing ability remains incredible, and I’d urge to ignore the distractions in the media and attend on of her quite unique shows open minded, so you can experience this flawed genius.

Set List

• Soul Rebel (off stage)
• Killing Me Softly Dub
• Everything is Everything
• Final Hour
• Zion
• Lost Ones
• Ex-Factor
• Black Rage
• Unplugged Medley: Mr Intentional, Adam Lives in Theory, Jerusalem, Water, Turn Your Lights Down Low
• Fugee Set: Only Have Eyes / Zealots, How Many Mics, FugeeLa, Ready or Not, Killing Me Softly
• Jammin' / Master Blaster
• Satisfy My Soul
• Is This Love
• Could You Be Loved
• Bang Bang
• Doo Wop (That Thing)

First Aid Kit, Albert Hall Manchester, 20th September 2014 8/10

In contrast to Alt-J, First Aid Kit are very much a live band. Whilst I initially found their recent third album Stay Gold slightly bland and middle of the road, there is no danger of boredom from the front rail of one of their shows. Indeed, this was a life enhancing occasion, full of joy. It's almost impossible not to smile whilst listening to a jaunty number like King of The World. Alongside this melodic gift, the sisters' vocal talent is central to their appeal. This was most evident during Ghost Town from their first album, performed unplugged and note perfect, with a spirited contribution from the crowd.

Klara and Johanna grew up surrounded by music: their father was a member of the Swedish new wave band Lolita Pop in the 80's and 90's and had a studio at home. Yet, it's Americana folk that most strongly characterises First Aid Kit's style, belying not only their Scandinavian heritage but Klara's adopted home of Manchester. Initially coming to attention with a Fleet Foxes cover, they've worked with such luminaries as Connor Oberst and Ryan Adams. At the ages of 23 and 21 they've already completed eight tours of the US and Canada, and have completely assimilated the country style. A pedal steel made a welcome appearance on stage, and in the celebratory, closing Emmylou, they also name drop Gram Parsons, Johnny Cash and June Carter. One of the most effective songs was their cover Jack White's Love Interruption, whom they've also worked with, providing some much needed contrast.

They're natural performers, Klara often leading from the acoustic guitar, and Johanna the more fluid in her movement, especially during The Lion's Roar. This is title song from that album, with a memorable tune, and the song most indebted to Americana. First Aid Kit had an easy rapport with the crowd, joking about their unlikely rock and roll nature when introducing Master Pretender, whose lyrics necessitated an explicit sticker on the album. In fact, they're highly inclusive, the beautiful ecclesiastical venue being sold out with music lovers of all ages. Klara's partner, Jo Rose provided a touching, sensitively sung solo opening act, with echoes of Neil Young; it's a pity he didn't join them on stage later. The stage back drop, lavish lighting and costumes reflected Stay Gold's theme, but the hour and 20 minute set was judiciously balanced.

First Aid Kit's reassuringly easy on the ear nature made me crave the more challenging territory at times: the surface gloss is some distance from the intricacy of Alt-J. Yet, they're more natural communicators on stage, regardless of whether the range of emotion is slightly constrained. Even though their success means they are playing far larger venues than 2 and a half years ago , those glorious harmonies still provide intimate escapism into a warm, comfortable world. Above all, they communicate their joy of performing, and love of sharing music which transcends geographical boundaries.

Set List

• Stay Gold
• Blue
• King of the World
• Waitress Song
• Shattered & Hollow
• In The Hearts of Men
• Cedar Lane
• Ghost Town
• My Silver Lining
• Wolf
• Love Interruption
• Heaven Knows
• The Lion's Roar
• A Long Time Ago
• Master Pretender
• Emmylou

Alt-J, Manchester Apollo 19th September 2014 9/10

There's paradox at the centre of Alt-J: how can they inspire such adoration when their stagecraft is so wooden, and their music so wilfully eccentric? How can shows like this one create such fond memories? Part of the answer may be the audience response they draw: almost every song from their debut album An Awesome Wave turned into a spirited sing along last night, and the atmosphere was celebratory. It seems unlikely they inspire this from visual appeal: the band scarcely move from their microphone stand, let alone towards the edge of the stage. The lighting provided some aesthetic interest, but at times I was tempted to close my eyes to get lost in the music. Neither were there witty interludes between songs: Alt-J still seem in awe at their success, addressing us diffidently.

This show sold out within hours, and a second night was added quickly thereafter. When I first saw Alt-J at their first major festival appearance in June 2012, their Mercury Prize victory was still ahead of them, and they played to a modest audience for just 30 minutes. Yet, by the end of that summer, at Reading Festival, I was astonished by the size and enthusiasm of the crowd, and their profile in the UK was exploding. Since those early days, I've seen them in a venue with a pipe organ and choir, in the desert at Coachella, and crammed the front row of a University hall packed with students. Their first album was in my top three of that year, and is still one of my most frequently listened to. So part of the explanation for the rapturous response has to be the memories associated with this metaphoric rise: Alt-J have become part of the soundtrack of their fans' lives.

When I first listened to This Is All Yours, I wasn't immediately won over: this is music which demands repeated listening before it's fully absorbed. Initially, some tracks like Garden of England, played on recorder, felt odd, a few slower numbers appeared tedious, and the overall mood was introspective. Appropriately for a band named after a keyboard shortcut on a Mac, their music can feel geeky, and its quirkiness challenging. Yet, after repeated listening, and experiencing it live, the album is now inside my consciousness, and makes complete sense listened from beginning to end like a classical symphony. They may now have over a million followers on Facebook, but this barrier to instant gratification, the need to invest some effort to understand the music, is key to the fervour of their fan base.

Alt-J begun to be compared to Radiohead almost as soon as they rose to prominence, and this latest album could be described as their Kid A for its willingness to experiment. The two bands are both cerebral, one from Oxford whilst Alt-J bases itself in its great rival Cambridge. I'm not sure if Alt-J will ever have the live intensity of the older band: I still consider them masters of the studio rather than the stage. Yet, both have the confidence to pursue their own creative direction, without too much concern for instant appeal, and they share a love of the intricate rhythms and rich tapestries of sound. Joe Newman's high pitched voice draws comparison with Thom Yorke's, and they are both guitar bands which also embrace technology.

The main set last night was just an hour, with two encores: I wish I'd been able to hear more of their new material, and lamented the omission of Leaving Nara, a final surprise from the album. They were almost technically flawless throughout, despite the difficulty of the material, and seemed little affected by the replacement of bass player Gwill Sainsbury after he left amicably at the start of this year. There were times though when I suspected a reliance on pre-recorded electronics, which only heightens the feeling that their music is the considered product of the studio rather than being spontaneous. Yet, the paradox remains: despite outwardly reserved performances, this was one of the most joyous evenings of my year, the love song Tessellate proving euphoric. My highlight though was Taro, one of their most visionary songs and proof that in the end, sheer compositional imagination transcends all else.

Set List

• Hunger of the Pine
• Fitzpleasure
• Something Good
• Left Hand Free
• Dissolve Me
• Matilda
• Bloodflood
• SheSheShe (Ripe & Ruin)
• Tessellate
• Every Other Freckle
• Taro
• Warm Foothills
• The Gospel of John Hurt
• Nara
• Breezeblocks

St. Paul and the Broken Bones, Gorilla Manchester, 2nd September 2014 9/10

Like the sorely missed Civil Wars, St. Paul and the Broken Bones is in that glorious category of acts which explode into life when you see them live. Sometimes, gigs feel like little more than a recreation of an album, but here dancing and acting are key. I was absolutely entranced when I saw this seven piece soul band from Birmingham, Alabama at the Dot to Dot Festival in May, despite their short set. Yet this headline set was even more absorbing thanks to the fuller venue. Last night, as drinkers joined the odd cerebral type, there was no lack of enthusiasm or dancing. In the US, their album Half the City reached number three in the iTunes chart, and they've had significant television exposure. Happily, it appears that recognition on this side of the Atlantic is starting to catch up.

Comparisons with Alabama Shakes are obvious: Half the City was produced by the keyboard player from that band, Ben Tanner, and recorded in Muscle Shoals. Both bands are absolutely scintillating live, whilst a charismatic female front person in Brittany Howard is exchanged for a male star. Paul Janeway is evidence of the folly of judging people by appearance. Wearing a formal lounge suit, he refrains from alcohol, and claims to prefer an evening in watching Netflix to going out. But far from being reserved, his voice has immense range, being stretched as he croons. The real surprise is his ability to dance: Paul's a charismatic figure, constantly coming to the edge of the stage, and physically engaging with the audience.

The show was incredibly energising, and with increased experience performing in larger US venues, the band has become louder and tighter, opening with an exciting instrumental number to ratchet up the tension before Paul came onto stage. In the unlikely case you're not mesmerised by his antics, there's plenty of other action to watch in a band consisting of trombone and trumpet players,  organ, guitars and Andrew Lee's powerful drumming. With only one album, the hour long main set was expanded with covers, notably one by their inspiration Otis Redding. These Alabama natives play retro soul: like Israel Nash, they look to the past for inspiration, yet these sounds are deeply ingrained in their Southern culture and flow from the heart.

The world is exceptionally fortunate that Paul Janeway didn't pursue his calling to become a Pentecostal preacher. Yet, watching him whip the audience into a frenzy suggests that he's channelling this passion to a different and wider following. Indeed, in an interview he admitted: 'Singing or preaching, it's the same kind of thing... It's very much like church to me', Of course, music can be spiritual, whether or not it references religious subjects. Paul learnt to sing in the church, and the band is so steeped in the deep south's evangelical tradition that it's impossible not to absorb the frenzied enthusiasm. I can relate to the friend who drove for seven hours to see St. Paul and the Broken Bones in New Mexico recently; feeling so fortunate to been at the front of the venue, amidst the joyful atmosphere created by these rising stars.

Set List

• Chicken Pox
• Don't Mean a Thing
• Sugar Dyed
• I'm Torn Up
• Shake
• Half The City
• Broken Bones and Pocket Change
• 99 1/2
• Like a Mighty River
• Let It Be So
• It's Midnight
• Call Me
• Grass Is Greener
• Make It Rain

Israel Nash, Castle Hotel Manchester, 31st August 2014 8/10

In the most energetic set at Green Man two weeks ago, Billy McCarthy of Augustines urged us to forget depressing global news. Israel Nash, by contrast engages with current affairs directly, singing of the tragedy of America's gun culture. Yet, they have both sought to ameliorate the pain of life through music. Rain Plans, released a year ago in Europe, was inspired by Israel's move from New York to Dripping Springs, a small town near Austin, Texas. He has found peace through closeness to nature, and seeks to disseminate this tranquilly to others. In an interview, he explained: 'this album is about love, clarity, direction, vision, relationships and the evolving power of change'. Part of his progressive vision is to seek to make the world a more tolerant, peaceful place through sharing his talents.

Rain Plans, played in full last night, is warm and relaxed, with a sense of the sweep of wide open spaces in the US. It's heavily influenced by Neil Young, and Crosby, Stills and Nash: inspired by early 70's Americana with elements of psychedelia. Yet, it doesn't feel derivative, having a soulful, spiritual quality and a wonderful feeling for melody. Live, Israel delivers his vocals with immense commitment, whereas on the album they can sound recessed in a dense, opaque mix. He is a striking figure, moving around the stage during instrumental sections, waving his long mane of hair, which mirrored the majestic lion on the album art backcloth.

Israel was highly appreciative of the audience's support, explaining passionately that music helps to foster mutual understanding, and make the world smaller. This may have been his first visit to Manchester, but he's previously revealed that he was originally inspired to make music by The Beatles, who were of course from Liverpool just 30 miles down the road. Last night's experience was intimate, the heat and in one of Manchester's smallest but packed venues prompting Israel to remark that it felt we were as one together. Clearly at ease in front of an audience, he put some of his songs in context, and happily revealed that he's writing new ones about his experiences in Texas Hill Country.

The sense of intimacy was heightened by Israel playing with just two of his colleagues: Eric Swanson on pedal steel and Josh Fleischmann on drums. It was a joy to watch the trio interacting: this is music which hinges on subtle interactions. Yet, Rain Plans is notable for its rich harmonies: the sound, enhanced by analogue equipment, is pivotal to its appeal. I missed the fullness of a bass guitar, and the complexity of a five piece band. Israel's enthusiasm meant that he broke a string on his acoustic guitar in the final number from Rain Plans. He therefore went electric for the two encores from his second album Barn Doors and Concrete Floors, and his first LP New York Town. Here, the absent band members felt of less consequence, and the audience, who had listened raptly all evening, were enlivened.

I'm currently in dire need of one of the rain plans Israel alludes to, finding myself drowning in a biblical torrent. Even these gorgeous, soothing tunes were unable to completely transport me away from the troubled present to the tranquillity of Dripping Springs last night. Yet, I'd urge any lover of Americana to investigate their tour dates, and I'm looking forward to Israel's second visit to Manchester, hopefully with a full band. Meanwhile, do listen to Rain Plans, some of which can be streamed on Soundcloud.