Sharon van Etten, Manchester Cathedral, 24th November 2014 9.5/10

Sharon Van Etten's 2012 date in Manchester was magical, so my expectations for this show were lofty. Yet, I was a little concerned about a loss of intimacy in the progression from the small Deaf Institute to the vast nave of the Cathedral. In fact, the visually spectacular venue helped to elevate this experience from inspired to truly memorable and make it one of my gigs of the year. Sharon referred more than once to the religious nature of the space, commenting on the irony of playing Save Yourself here. Her tone suggested that she's endured past challenges with the church, but for the audience, her choral training brought only gains. Sharon's soprano voice was strong, pure, and pitch perfect, but still managed to be expressive.

It surprised me that such a personal creation felt so collaborative. Her band is starry, with Darren Jesse of Ben Folds Five sensitively restrained on drums, Brad Cook from Magafuan on bass, and Douglas Keith on guitar also sounding incredibly tight. The sense of painstaking preparation and technical accomplishment were reminiscent of an expert classical ensemble. The virtuosic guitar playing of opener and studio collaborator Marisa Anderson set the scene for instrumental excellence, but was wordless. As if by compensation, the main act provided a near operatic vocal extravaganza, thanks to the inclusion of Heather Woods Broderick from Efterklang. She played keys and tambourine, but on vocals duetted instead of merely providing backing. The ensemble body gave the songs time to breathe, yet felt far from laid back because of the presence of an urgency and vibrancy that's missing from the studio.

With four albums, inevitably some favourites were omitted from the 90 minute set. I regretted the lack of Serpents, a highlight of Tramp, and the absence of Your Love is Killing Me, a stand out track from 2014's  Are We There. The powerful Tarifa suffered from the lack of live saxophones, but the preponderance of new songs was entirely apt given the intense atmosphere. 2012's Tramp was the result of a collaboration with The National's Aaron Dessner, whereas her latest album was self-produced, and feels even more heartfelt. To match this, there was an absence of overt theatrically in Manchester. Sharon is a diminutive figure on stage, and made little attempt to dance or even move  from her two microphone positions. Instead, the drama and light came from her mercurial facial expressions; at times she would engage audience members by looking into their eyes.

This was an immensely subtle performance, and the meticulous backing and nuances of the harmony reminded me of PJ Harvey. Yet, there's nothing contrived about Sharon's rawness, which reflects an undercurrent of anger. This show felt powerfully moving, amplified by the spectacular architecture and reverberant acoustic (although, from my position near the stage, it did affect the clarity of lyrics). The stagecraft may appear introverted, but she communicates a playful, quirky and warm personality. Her chatter with the audience was humours and generous, with little of Elena Tonra's  shyness despite temperamental similarities with Daughter. Sharon's talked in the past of the hope that her dark poetry can be a form of therapy for her listeners. There's a sense that sharing such raw emotion is cathartic for performer as well as audience. The set last night melded into one long, gloriously melancholic sweep, betraying an almost overwhelmingly touching sensitivity to the fragile human condition.

Set List

• Afraid of Nothing
• Taking Chances
• Tarifa
• Save Yourself
• Break Me
• Nothing Will Change
• I Don't Want to Let You Down
• Tell Me
• Keep (solo)
• Live of his Own (solo)
• Our Love
• Don't Do It

Encores

• I love you but I'm Lost
• Give Out

The Rural Alberta Advantage, Soup Kitchen 25th November 2014 9/10

Your impressions of Alberta may be influenced by the beauty of The Rockies in a holiday brochure, the comforts of the holiday resort Banff, or by the warm, polite Canadians you've met. The Rural Alberta Advantage sings of a harsher place, where natural disasters ravage communities and the sheer scale of the landscape threatens to overwhelm you. Nils Edenloff retreated to a remote cottage on the Bruce Peninsula to work on Mended With Gold. This may be in Ontario to the east, but speaks of the wilderness of all northern Canada when he describes howling wolves and a growling black bear. To Be Scared is an expression of the humbling feeling of being alone amidst nature, with none of the trappings of civilisation to hide behind. Earlier, introducing Tornado '87, Nils explained that one time, an actual tornado followed their performance of this song. The set last night was itself an assault on the senses, one short song following another without the aural tempest subsiding.

Much of Mended With Gold was written on tour, and whilst its style isn't a radical departure for The RAA, it brings a sophistication to their sound. It's clear that time spent on the road playing larger venues and festivals since their last visit to Manchester in May 2011 has allowed their stagecraft to progress. I wish they could tour the UK more frequently, but my patience was rewarded by the chance to see artistry of such calibre from the front of an intimate basement. Amy Cole led the youthful, enthusiastic audience in clapping and sing-alongs. The band had a hugely uplifting effect: despite singing of disaster, this was an amazingly joyful occasion; a celebration of life. Amy danced barefoot when she wasn't multitasking on percussion, keyboards, and pedals, exuding happiness. Paul Banwatt's expressions of sheer abandonment were infectious too.

Drumming more readily associated with punk dominates The RAA's sound, pulsating through my entire body despite Paul's use of a minimal kit. Unexpectedly given such ferocity, he's an intellectual property lawyer by day. Anyone expecting gentle folk music from the bearded, acoustic guitar playing Nils would also have been in for a shock. Initially, I thought that the raucous Canadian support act PS I Love You was an incongruous choice. Yet, their sound is also driven by the drummer, and Paul Saulnier's vocals could never be accused of sacrificing expression for beauty. Nils' voice is also divisive: some may find its astringent, nasal quality harsh, but the characterful tone been compared to Jeff Mangum's. He is balanced by Amy's airy backing harmonies, and assertiveness is an authentic part of the Albertan character. Tension and forward momentum sweep you along on an exiting journey.

A generous set ranged widely through the RAA's three albums, the opening sequence's release of energy giving a hint of Arcade Fire's explosive rock. Two of my highlights came from the new album, and showed a more nuanced side to the trio: the tense Vulcan, AB and the lyrical first encore, The Build, which was performed solo by Nils. Yet, the closing sequence will remain in the minds of all present: the devastating Dethbridge, about a suicide spot in the city of Lethbridge, and an un-miked performance of Good Night in the centre of the crowd, which has become a signature of The RAA's shows. They may be songs with simple melodies and chords, which some might find bombastic compared to Sharon Van Etten's nuanced show the night before. Yet, for all the visceral thrills and their unique sound, this was far from one dimensional and a tenderness behind the extrovert exterior moved me. The RAA are a live band above all, so their rare appearances in Europe absolutely should not be missed, whether or not you are a Canadaphile.

Set List

• Stamp
• Muscle Relaxants
• Don't Haunt This Place
• *Our Love....
• *...On The Run
• Tornado '87
• *Vulcan, AB
• Luciana
• *On The Rocks
• Rush Apart
• 45/33
• *To Be Scared
• *Terrified
• Four Night rider
• Edmonton
• Frank, AB
• Drain The Blood
• Two Lovers
• *The Build
• The Dethbridge in Lethbridge
• Good Night

(*from Mended With Gold)

Trampled by Turtles, Manchester Gorilla, 17th November 2014 9/10

About an hour into Trampled by Turtles' set, an audience member shouted: 'Give it your all next time'. Dave Simonett made light of the intervention, remarking that he appreciates polite hecklers, but it seems that he misunderstand the ironic Mancunian humour. It was clear to absolutely everyone present that the five maestri from Duluth were playing their hearts out, determined to sweep us up in joy. The acoustic instruments sounded gloriously rich, and the audience was wrapped in a warm blanket of mellifluous sound. This reflects their recent studio collaboration with Low's Alan Sparhawk, who has helped to develop contemporary influences in the sound. Dave's voice is nasal, but he's a charismatic front man, and maintained the almost breathless momentum of the set by talking little between songs.

For once, the support act was both apt and engaging. The Dirty Beggars bring Celtic folk and a jazz bass line to bluegrass. The five piece passionately communicated a Scottish love letter to America, sounding strikingly like Old Crow Medicine Show and in their more heartfelt moments, TbT themselves. Whilst I sensed a sag in the material mid set (Chicken Song was just too ridiculous for my taste), the strongest songs came from their most recent release, Time to Reminisce EP. They managed to get the audience moving and drew more than the customary polite applause. More than just a derivative tribute to Americana, this fusion makes me impatient to hear their second full length.

Yet, when Trampled by Turtles came on stage, there was an explosion of energy and virtuosity. Whereas their seventh album Wild Animals has a predominantly reflective feel, exhilarating foot stomping numbers like Western World seemed to dominate this set. In fact, the mood was similar to their stunning 2013 release, Live at First Avenue, despite the addition of six newer songs. The small group dancing in the middle of the crowd turned out to be from Minnesota, but on this damp Monday evening, the 600 capacity venue was little more than half full of locals. TbT last played Manchester's smaller Night & Day Cafe in June 2013, which felt more fittingly intimate. There were times, though when I was able to imagine myself back in Minnesota where I'd been a week earlier, far from this city centre railway arch. I was reminded of music's connection to place, and TbT resonated with my precious memories of time spent in rural North America.

For all the rousing excitement and dazzling speed, the depth of numbers like Midnight on the Interstate from their finest album, 2012's Stars and Satellites, moved me most. Dave writes: 'Solitary time in a nearly untouched landscape is my version of church' continuing; 'I believe a lot of sadness is caused by feeling disconnected from the rest of nature'. Their finest recent material has a real sense of vulnerability and loss. Dave wrote these songs after moving to the city of Minneapolis from Duluth, and seems to be lamenting being parted from the wilderness that we need to regenerate. Despite the invigorating nature of their live act, it's the tenderness of melody and warmth of harmony which will remain in the heart for longest of all. TbT are truly not to be missed next time they're in your town.

Set List

• Winners
• Alone
• Walt Whitman
• Western World
• Repetition
• Midnight on the Interstate
• Hollow
• Codeine
• Truck
• Victory
• Nobody Knows
• Wild Animals
• Wait So Long
• Don't Look Down
• Shining Star
• Ghosts
• It's a War
• Swimming Song

Lykke Li, Albert Hall Manchester, 15th November 2014 7/10

Lykke Li's third album and tour this year have attracted much praise, and I enjoyed her Wounded Rhymes tour in 2011 (with support from First Aid Kit) and appearance at the BBC 6 Music Festival in March. Tonight's show was carefully choreographed and immaculately performed, the five backing musicians helping to create a sound carefully aligned with Bjorn Yttling's studio production. The lighting effects were striking: Lykke Li often appeared in shadow, and there were moody clouds of dry ice throughout. After each song, the light faded to darkness. To add to the drama, her voice is laden with reverb, and sounded strikingly pure and note perfect. The show had the feeling of a theatrical presentation, not simply a gig, and to avoid breaking the spell, Lykke Li said little to the audience until the end of the evening.

Yet, it is difficult to avoid comparisons with the last gig before my recent travels, by St. Vincent at this same ecclesiastical venue. Regrettably, a curtain covered the organ at the back of the stage, and we experienced none of the antics that saw Annie Clark swinging onto the balcony and leaping five feet down to the audience. In fact, it wasn't until the encores that Lykke Li even approached the edge of the stage to talk to the audience. Whilst I admired the impeccable musicianship, I felt detached; it wasn't until we were invited to hold up our phones during Never Gonna Love Again that there was a real sense of involvement. This song also took flight because it's the strongest power ballad on the album I Never Learn. At least the sound was clear throughout: the support act's muddy balance had left me apprehensive.

St. Vincent's music is challenging and obtuse when Lykke Li's feels formulaic and unadventurous: at times it feels as if she is reusing the same set of chords. It's no coincidence that two of highlights from the 80 minute set were covers by Fleetwood Mac and most notably an imaginative take on Drake's Hold On, We're Going Home. This showed what a commensurate performer she is, and like St. Vincent, nothing is left to chance. So it was almost a relief when she prematurely introduced the uneven support act Eliot Sumner to join her on stage; a flash of humanity when the person behind the act was revealed.

Yet, perhaps the only way that a sensitive person can perform such heartbreaking material every other night to is to remain in character. Her new album is a study in betrayal and romantic loss, being written after a breakup and relocation from her native Sweden to Los Angeles. She's a tiny figure on stage, but far from feeling vulnerable, she conveyed strength in adversity. The relative musical simplicity is almost certainly intentional, allowing her emotions to be projected more directly. A song like Gunshot is affecting, but faster songs like I Follow Rivers and the closing Dance Dance Dance reminded me that sadness can be cathartic. Yes, Lykke Li's choses to express a relatively limited emotional range in her dark pop, and can feel stage bound, but her sincerity is clear.

Set List
1. I Never Learn
2. Sadness Is A Blessing
3. Just Like A Dream
4. No Rest For The Wicked
5. Silent My Song
6. Hold On, We're Going Home (Drake cover)
7. Little Bit
8. Sleeping Alone
9. Gunshot
10. I Follow Rivers
11. Never Gonna Love Again
12. Rich Kid Blues
13. Get Some (with Eliot Sumner)
Encores
14. Silver Springs (Fleetwood Mac cover)
15. Dance, Dance, Dance

The Wailin' Jennys, Burton Cummings Theatre Winnipeg, 1st November 2014 8/10

My fascination with polar bears brings me to Winnipeg, Manitoba annually, and I always try to experience the local music scene. This year, I was lucky to experience the first concert for three years by the local but internationally renowned folk trio The Wailin’ Jennys. As I type this, I’m travelling by train through the Canadian prairies on the early stage of an epic 48 hour journey to the sub-Arctic. Music and travel have an affinity, and so it’s particularly fortuitous when I can combine the two. In Winnipeg, I always feel that the music scene has a close connection to the local community, and the historic Burton Cummings Theatre in downtown is being revived thanks to their efforts. The Jennys, keen to give something back, dedicated the concert to the Canadian Mental Health Association, and over $1000 was raised for this organisation last night.

This was an occasion for Winnipeg as the end of a an hiatus whilst the group had been preoccupied with their young children. It was also the first airing hear of their 2011 album Bright Morning Stars in their home town, which won a Juno award. They’ve been performing for 13 years and in 2004 their first full length 40 days also gained a Juno. As Nicky Mehta explained wittily, it was also the first time her five year old twins had seen their mother sing in public. The atmosphere couldn’t have been more different from St. Vincent in Manchester: whereas she creates a fantastical artwork, the Jennys are grounded. Above all, beauty was emphasised, and the energy was less extrovert. Two of the group are have a classically trained background, which manifests itself in the purity of the vocals, and the technical accuracy. It also reflects the polite Canadian character, and the rapport with the audience showed its warmth.

The Jennys are far from reserved in their chatter, mixing humour with an explanation of the circumstances behind the songs’ creation. So we learned that Across The Sea, one of their finest songs, was written whilst Heather Masse was touring, travelling on a ferry from Ireland to England, regretting her husband’s absence. The two sets closed with audience participation, in the form of sing alongs, and they were met with genuine adoration. Energy was also injected by the addition of three backing musicians, playing largely acoustic instruments, and the main trio embraced banjo, ukulele, fiddle, upright bass and drums. Their easy going, tonal music creates a sense of serene contentment. It’s a creation that has not been without commercial success, and they’ve toured the world widely in support of their albums.

Yet, of course the gig was all about virtuosic vocal harmony, which at times was reminiscent of the some of the US classical group Anonymous Four’s crossover albums. Yet, here I particularly appreciated Heather Masse’s contribution. Unlike the two Canadians, this American is steeped in  jazz, and brings a rhythmic  influence that made songs such as Cherry Blossom the most compelling of the evening. Her facial expressions were also a joy to observe, and in fact the enthusiasm of all those on stage was uplifting. As so often with folk musicians, they embrace not only their community but embody a love of the natural world. So this was the perfect prelude to a pilgrimage to observe some of earth’s most majestic, and vulnerable creatures in the north of the continent.

Setlist

• Asleep at last
• Swing Low
• Birdsong
• Arlington
• Wearly Blues
• Deeper Well
• Across the Sea
• Begin
• Glory Bound
• Dolly
• Beautiful Dawn
• Wild Flowers
• Away
• Cherry Blossom
• Last Goodbye
• Goodnight
• One Voice