St Vincent, Albert Hall Manchester, 22nd October 2014 9.5/10

It would be easy to regret an attempt to recreate my most cherished memory of the year. St Vincent's show at Manchester Cathedral in February was an unbelievably intense experience from the front rail. So, my expectations of this gig at the nearby Albert Hall were immense; but were almost completely fulfilled. This former Methodist church is one of the most dramatic buildings in Manchester, boasting stained glass windows and a working pipe organ behind the stage, but couldn't quite match the gilded spectacle of the Anglican Cathedral. Alas, the sound was a little bass heavy near the stage, blurring the vocals slightly. If the awe of my first encounter with one of the most exciting contemporary acts couldn't be visited, the show was still incredibly theatrical, blending elements of a rock concert, ballet, and play into an other worldly, fantastical multi media extravaganza.

A review of one of her shows earlier this month claimed that "the audience had a collective dream". Annie Clark is astonishingly poised and precise on stage, whether she's pretending to be a robot or faking her death. Her show resembles performance art: everything is meticulously choreographed, including the apparently random, crazy facts she presents to the audience. There's a deliberate sense of chaos; of possessing the power to upset the established order and confound expectations. So, towards the end of her set, Annie swung off the balcony railings, climbing to the upper level to drink from an audience member's pint of beer. Just before this, she'd leapt off the dangerously high stage to allow some of us on the front row to strum her guitar to Your Lips Are Red. I recalled her introduction 90 minutes earlier: "a very special welcome to the freaks and the others". Annie had created a place where you could be yourself, leading the way by taking insane risks with her performance. It should be no surprise that she's just won Q's Maverick Award.

Some might find it all a little pretentious or contrived: Annie claims the St Vincent persona is based on a cult leader from the near future, and as The Guardian said: "a huge amount of control clearly goes into sounding this deranged". Lighting and make up give St Vincent the appearance of a doll, this representation of the female form perhaps intended as a caricature. The Digital Witness tour is also a commentary about the impact of technology and social media in modern times. A key theme is that it can get in the way of our happiness and relationships. She sings: "If I can’t show it, you can’t see it; what’s the point of doing anything at all", so the audience was asked to refrain from digital capture. Instead, like an accomplished politician, she attempts to engage everyone in the hall personally, looking into their eyes. At times, deciphering the meaning of her message can seem challenging, but this simply adds to the intrigue.

Annie's already played an extraordinary 147 dates this year, yet there's was no hint of the routine. We happily received a preview of Peita from the Black Friday 10 inch EP announced this week, although a personal highlight was I Prefer Your Love. For all the visual and dramatic depth, Annie's extraordinarily virtuosic guitar playing that stands out. Her uncle, a jazz guitarist, is a key influence, and although her forms are more concise, the riffs are surely the result of hours of practice. Two backing musicians on keyboards and drums plus Toko Yasuda on backing vocals helped to create a tight, crunchy sound. It ranges across funk, pop and metal, yet as Prince Johnny demonstrates, moments of melodic beauty stand out amongst the prevailing angular crunchiness. There is also an air of playfulness in Annie's demeanour, a spirit of optimism which belies the dark themes of the lyrics. I identify strongly with a quasi religious theme of rebirth: in her first monologue she said: "You're here because no mattter how many times you've been blindsided... we never ever ever give up hope". St Vincent gift to the world is to provide an all-consuming escape from reality, allowing the redemptive power of art to transform our perception of life.

Setlist

• Rattlesnake
• Digital Witness
• Cruel
• Marrow
• Every Tear Disappears
• I Prefer Your Love
• Pieta
• Actor Out of Work
• Surgeon
• Cheerleader
• Prince Johnny
• Birth in Reverse
• Regret
• Huey Newton
• Bring Me Your Loves
• Strange Mercy
• Chloe in the Afternoon
• Your Lips Are Red

The Staves, Deaf Institute Manchester, 20th October 2014 8.5/10

This didn't have the feel of a routine date for The Staves. It was their first re-appearance after a period in the studio, and the 70 minute set premièred new material. A lengthy sound-check paved the way for a near perfect performance. Perhaps they wanted to make their mark on a day when two of their fellow Communion artists, Ben Howard and Bear's Den, were releasing albums. It has been fascinating to witness the evolution of this band. One of my first encounters with The Staves was in 2011, when they supported The Civil Wars at a tiny venue in Manchester. I've also experienced them at The Deaf Institute, in 2012, and at The Ruby Lounge for an album release show later that year, when they slightly underwhelmed me, despite considerable melodic charm.

The new songs signal an intention to fill larger spaces, with fuller textures from three backing musicians on keyboards, guitars, and drums. This was billed as a special, intimate tour, and this first date sold out quickly. An a capella rendition of Wisely and Slow was a reminder of past joys, the sisters' harmonies blending beautifully. Yet, whilst Dead & Born & Grown is a homage to the British nu folk tradition, I regretted its reluctance to take risks, and a lack of emotional range. It felt constrained within the polite boundaries of middle England, however beautiful that world may be.

The Staves' first album was produced by the esteemed Ethan Johns, yet their upcoming EP Blood I Bled was recorded with Justin Vernon, after they met touring in support of Bon Iver. They started this show with Open, and the time they've spent in Wisconsin in Vernon's studio was immediately apparent with intricate layers of electronics. The next new song, Blood I Bled, showed their new found emotional depth and a greater willingness to take risks than I'd noticed before. After a gorgeous rendition of Mexico, they apologetically introduced a scintillating mid set section consisting of more new material from an upcoming Vernon produced album. The audience was just as attentive at this time as during their older hits, vindicating the decision to launch them into the world amongst a small group of devoted fans. The band was note-perfect throughout, with no evidence of a recent break from performing.

The Staves' on stage demeanour reflects the subtlety of their music: there was no wild dancing, or elaborately choreographed movement; but humour was present in their chatter. It suggests an English reserve, though their US mentor Justin Vernon is hardly known for his live exuberance either. Yet, it didn't prevent them from establishing a rapt atmosphere: considerable passion was expressed through music, and I was totally absorbed. Their sound has always been tinged with Americana: they were brought up in a household with the sounds of Bob Dylan and Crosby, Stills, and Nash. But like First Aid Kit, who also have links to Manchester, they re-imagine this tradition through the experiences of a  generation for whom technology transcends geographical boundaries. Blood I Bled is the first fruit of the Bon Iver collaboration with just three original songs. Yet. it's an auspicious marker for a full length release next year. They will surely then be selling out far larger spaces: The Staves feel like an act that has come of age.

Set List

• Open
• Tongue Behind My Teeth
• Blood I Bled
• Pay Us No Mind
• Mexico
• Make It Holy
• Don't You Call Me
• No Me No You No More
• Steady
• Wisely and Slow
• Black and White
• Eagle Song
• Teeth White
• Facing West
• Winter Trees

Glass Animals, Sound Control Manchester, 11th October 2014 8/10

During the wait for the support and main acts last night, hypnotically beguiling King of Limbs remixes were played over the PA. This choice was no coincidence: Glass Animals are also from Oxfordshire, and known as admirers of Radiohead. Yet, it's more enlightening to consider their roots in the London bass music scene. Confounding expectations, their music felt more visceral than intellectual, and the overwhelming memory is of bass energy which seemed to permeate every cell in my body. There were also twisted electro pop hooks, and an audacious confidence about the performance.

My expectations about the stagecraft were confounded: I'd come here because I consider Zaba to be one of 2014's stronger album releases. Yet, it's a studio creation, owing much to Paul Epworth, and before his involvement, lead singer David Bayley's private experimentation with Garage Band. A review of their last visit to Manchester in June was less than complimentary, whilst a report on their show at The Troubadour in LA last week lamented the lack of engagement, suggesting that the studio sound didn't translate well to stage. So I was astounded by the level of energy last night, even if David's three childhood friends and fellow band members didn't attempt to emulate the frontman's antics. But fears that Glass Animals might repeat Alt-J's static demeanour,  (whilst lacking their musical intricacy) were unfounded.

The mood for the evening had been established by Bradford artist Laura Groves: backed by full band, she proved a charismatic singer, painting vivid aural pictures. Yet it was the illustrious St Vincent who'd also been on the stage on the first occasion I saw Glass Animals, an experience which so swept me off my feet that I can recall little of the support act that evening. Last night also required a suspension of disbelief: they are both fantastical pop acts at heart. Viewed objectively, David Bayley's incessant, hyperactive dancing and mannered vocals could be regarded as mannered; even odd. Yet, the album's title was taken from his favourite childhood book, William Steig’s The Zabajaba Jungle, and represents a fictional, primitive scenario.

We were spared the palm plant props of the recent California show, and there was limited engagement with the audience between songs. Moreover, this Saturday night crowd was far from silent; yet the venue was filled with movement. Their influences include R&B acts such as The Weeknd, and Kanye West, to whom they paid tribute in a not wholly successful cover of Love Lockdown. Their best known song, the sensual Gooey, was a highlight alongside Black Mambo, but the tension never subsided throughout an intense hour long set. David Bayley studied neuroscience at medical school, and the subject matter of the songs, beyond the superficial jungle theme, is often dark. But the Radiohead comparison should not be stretched too far: there isn't such a level of subtlety, despite the clever combination of electronics and found sounds. Instead, this was a wonderfully life enhancing escape, an intoxicating rush of rhythmic energy, which was also surprisingly visually engaging.

Set List

• Psylla
• Black Mambo
• Exxus
• Gooey
• Walla Walla
• Intruxx
• Hazey
• Toes
• Flip
• Cocoa Hooves
• Wyrd
• Love Lockdown (Kanye West cover)
• Pools

Strand of Oaks, Deaf Institute Manchester, 5th October 8/10

Feeling under the weather, I made a concerted effort to embark on the two hour round trip to Manchester this Sunday evening. Timothy Showalter had connected with me when I Tweeted about the gig a couple of weeks ago, and I had a feeling it was going to be a revitalising experience. As it happened, he was also recovering from a fever, joking that his medication meant that he wasn't able to drink his usual 'considerable' amount. There was no lack of energy in Strand of Oaks’ playing, but I suspect the atmosphere was more subdued than at some of his home gigs, where I've heard of stage diving into the crowd during the encore. Support act Eliza Shaddad received a remarkably hushed response from this audience, who were moved by her stripped down set. She’s collaborated with Clean Bandit, but the subtlety here in her singing was a world away from their extrovert dance pop.

The title of Showalter's latest album is Heal, referring to the revitalising power of music, which seemed particularly relevant in the circumstances. Listening to their music is an exceptionally emotional experience. A song like Plymouth sounds reminiscent of fellow Philadelphians The War on Drugs, whilst JM has Neil Young Influences. Others have compared Strand of Oaks to My Morning Jacket, yet for me the most illuminating parallel is with blue collar rockers Augustines. Billy McCarthy would surely have approved of Showalter's choice of encore last night, Used Cars by Bruce Springsteen. Yet, a troubled back story is most salient point of comparison. Both acts are characteristically American in their confessional nature, baring their souls on stage. Showalter's experienced much adversity, from his wife's affair, to his house burning down, and a narrow escape from death in a car accident on Christmas Day last year. He explained: 'I think the writing (of Heal) was therapeutic in the sense that if I wouldn't have done it, I don’t think I could've functioned'.

Yet the impact of this gig was uplifting, the experience of retelling these personal crises through music proving cathartic. The band above all seemed incredibly grateful to be performing and Showalter gave a heartfelt account of the significance of iconic Manchester bands in his youth. There is an anthemic feel to the climaxes and Mike Sneering's thundering drums provided impact. Eliza Hardy Jones harmonised the vocals, and her keyboard provided an 80's influence in songs like Same Emotions. Yet this is classic rock, and extended instrumental sections in heavier songs like For Me that were most absorbing, as Showalter shredded on his black Fender with bass player and best friend Deven Craige. This was in contrast to the more subdued interlude mid set, when he explored folk influenced material from two of his early albums. This section ended with a dramatic rendition of Woke Up To the Light, the full band joining the stage as it reached its climax.

There's such a strong sense of release in Strand of Oaks' music: it's as if years of battling adversity whist playing gentle, restrained music have been joyfully thrown aside in favour of full blooded rock. Showalter tosses his hair around as he delves deep, the word 'Survive' tattooed on his right forearm. Heal surely deserves to be one of the albums of the year. Showalter told an anecdote about this audience being better behaved than the students he taught at the Orthodox Jewish school he worked at for two years. I do wish there had been more reciprocation of the energy from the band by the crowd, but they were clearly appreciative. The evening ended with warm emotions, Showalter coming down from stage and hugging a number of audience members. For all the adversity in the lyrics, this was a profoundly healing experience: a form of therapy for all parties present.

FKA Twigs, Royal Northern College of Music, 4th October 2014 8/10

The evening opened with more of a mood of academia than a party, a reflection on the venue, an esteemed seat of musical learning, and the support act. The producer Visionists' blend of grime, dubstep and dance, sounded to me surprisingly reminiscent of contemporary classical experimentalism. The bass was enveloping, but it failed to move me deeply, or transcend the archetypal electronic music visual presentation, with a lone guy in the middle of the stage twiddling knobs on studio equipment. The overlap between the creative exploration of the cutting edge of classical and electronic music is easily overlooked, yet at least this is one institution that fosters mutual understanding.

FKA Twigs is also experimental and at times demanding listening; from an audio perspective she sounded remarkably close to the acclaimed, recently released LP1 last night, although I felt the vocals lacked a little power in the opening songs. The three backing musicians remained very much out of the limelight, but remained tight. Yet, this show was all about movement, and the remarkable energy and dancing of Tahliah Barnett. She's a striking visual presence, even without the make-up of LP1's striking album art. The lighting exploited the drama of darkness and shadow of what felt primarily like a charismatic solo act.

Like St Vincent, FKA Twigs is a fantastical alter ego, and Tahliah remained in character throughout, with the exception of a brief, and heartfelt acknowledgement of her fans mid set. It's a sensual construct, musically, visually and in the lyrics. If her dancing was the outstanding feature of the set, it's the hooks in the music that seem likely to propel TKA Twigs towards mainstream success. Songs like Lights On or Two Weeks have repeated motifs that attach themselves to your subconscious, and produced a wave of frenzied excitement in the crowd. Her R&B features disembodied beats with elements of trip hop, creating an eerily disturbing atmosphere at times.

A considered assessment of this act is complicated by the current hype, accentuated by a (deserved) recent Mercury Prize nomination. Unsurprisingly, with one album, the set was short, if high intensity, and I felt the first part contained the stronger material. A row about racism is a sad reflection on our times, when tensions locally are high on the day of news of the beheading of local Salford taxi driver Alan Henning by Islamic State. Incredibly in 2014, mixed race Tahliah has been suffering abuse on social media over the past week for dating actor Robert Pattinson.

With a background this depressing, there is more need than ever for immersive artwork to provide an escape from reality, and this was an all encompassing experience. For an artist who has emerged so recently, it was also a surprisingly polished and confident performance, and she's already breaking out of an esoteric, experimental niche into the mainstream. I expected the dark, deep music from LP1 to dominate, but was unprepared for the assured stagecraft. This fusion of the visual and aural deserves all of the acclaim and recognition which seems to be inevitably heading its way. If you're in the UK, seize the chance to see her in a mid sized venue whilst you still have the chance.

Setlist

• Preface
• Ache
• Lights on
• Give Up
• Water Me
• Pendulum
• Numbers
• Hide
• Video Girl
• Kicks
• Papi
• Two Weeks
• How's That