Sharon Van Etten, Brudenell Social Club Leeds, 25th April 2015 10/10

The paradox at the heart of this remarkable evening is the joy amidst music of profound sadness. Characteristically endearing humour was evident in Sharon Van Etten's anecdotes, but there was also a striking playfulness in the band's interactions. It's so heartening to see such love between a group of people who've been on the road together for months. It's as if they've found a communion in performing songs each night, which parallels a religious community's comfort in the repetition of liturgy. In more mundane circumstances, an altercation between two audience members over talking during the performance might have punctured the harmony. Fortunately, Sharon silenced the pair with assertive wit, diffusing the conflict. Indeed, it was during Tarifa which followed that I found myself fighting back tears: it's surely one of SVE's most beautiful melodies. Then came one of the most touching songs from Tramp: Give Out, which explodes into painful melancholy.

I narrowly avoided repeating John Cambell's public display of emotion; the newsreader whom Sharon Van Etten surprised and moved to tears in New Zealand. My own feelings were of catharsis and delight combined. This 90 minute set in Leeds was utterly transporting, an experience so absorbing that writing 24 hours later, I realise that it's changed my perspective in the way that travel to a far off land can also do. Manchester Cathedral in November was an infinitely more atmospheric venue, but the intimacy of a club allowed a closer appreciation of Sharon's heartfelt facial expressions. At times, she seems to make eye contact with members of the audience, addressing some directly between songs. Her collaboration extends beyond the band into the crowd, in a way far more subtle than a sing or clap along. SVE's gigs stay within the comfort zone of an introvert, without feeling reserved.

We were treated to the title track of the I Don't Want to Let You Down EP to be released in June, but I suspect the highlight for many was a poignant solo acoustic song, performed in memory of her friend and fellow musician Mike Skinner, who died in September. Totally stripped back, it was a reminder of the subtlety and nuance of Sharon's musicianship. The more rousing Every Time The Sun Comes Up provided some relief from tragedy, and I appreciated Doug Keith's recreation of the spoken 'Yes she is' at the end. By this point the band had truly relaxed; Sharon even interjected 'except tonight' after the line 'it hurts too much to laugh about it' from the final encore Ask. Meanwhile, Heather Woods Broderick was barely managing to contain her laughter, which is of course an effective antidote to the heartbreak in the lyrics.

Happily, the venue's sound allowed Sharon's pure and powerful soprano to penetrate my heart unencumbered. But for all the band's technical accuracy, this is intuitive music making, responding flexibility to emotion, most evident in Heather harmonising. Alongside the subtlety, there's power and rhythmic drive in songs like Warsaw or Serpents (though the latter was sadly absent from the set, as it was at Manchester Cathedral). SVE allows a fuller release of emotional energy than Laura Marling, operating in a cultural context where such displays are more widely accepted. I hope that the inclusion of Tell Me on the upcoming EP is a sign she's considering the release of a live album: Are We There may have been my favourite release of 2014, but it's even more unbridled outside the studio. SVE's music itself is therapy, but the particular wisdom revealed by this tour is that allowing light and levity into your life can act as a defence against heartache and sadness.

Set List

• Afraid Of Nothing
• Taking Chances
• Warsaw
• Tarifa
• Give Out
• Break Me
• Tell Me
• I Don't Want To Let You Down
• For You (Sharon & Heather)
• Solo (in memory of Mike Skinner)
• Kevin's
• All Over Again
• Your Love Is Killing Me 
• Every Time The Sun Comes Up
• Peace Signs
• Ask

Laura Marling, Albert Hall Manchester, 24th April 2015 9/10

The influence of her time in America has been the aspect of Short Movie, Laura Marling's fifth album, to attract the widest comment. This was reinforced by the projected backdrop of a Californian Desert last night, almost certainly a reference to Joshua Tree which features in the lyrics of Easy. Yet, its importance has been over emphasised. Bluesy Americana had already imbued her work, and the transatlantic drawl in her singing voice, which some found affected, seems to have diluted on her return to these shores. Her distinctive performance style is quintessentially British, or more specially southern English. Laura herself alluded to this restraint when she contrasted her lack of chatter with the very northern, extrovert Mancunian Guy Garvey, whom she described as the king of on-stage banter.

Some are distracted by the (irrelevant) issue of Laura's aristocratic background, but her fans find the modest, shy interaction endearing. After a rendition of Howl from her new album, she launched straight into the masterly opening sequence from Once I Was An Eagle, a medley I regard as her finest work to date. Laura then thanked the audience for remaining silent for 21 minutes: the atmosphere at her gigs is not dissimilar from that at classical concerts. The audience gently swayed, but remained largely passive. Some reviewers have misunderstood this silence, suggesting that Laura needs to loosen up somewhat. In fact, there is intense passion and energy in both her songs and musicianship. I was again staggered by her virtuoso guitar playing, whether acoustic or now also electric, but it's her voice that is most remarkably expressive instrument, stretched to the upper and lower limits of its range.

I wonder how many in the audience were aware that this voice appears on the support act Gill Landry's third album, released in March. Laura duets with the Old Crow Medicine Show veteran on the song Take This Body, though at Albert Hall he was joined only by a fiddle player. Alas, none of the attention given to the main act was evident here: his sensitive, beautiful performance was almost downed out by chatter, reverberating around the cavernous venue. I received a considerable response to a Tweet I posted about this, not only from the artist, but from several followers relaying similar experiences. Surprisingly though, one person defended the right to talk through acts, on the grounds he had the ability to concentrate on the music at the same time as a conversation. Perhaps it takes some longer than others to reach the realisation of how intimately the effects of our actions are linked to others, and of our responsibility to respect musicians baring their soul for often scant recognition.

Some might also be surprised that Laura Marling, barefoot on stage, never straying far from her microphone, is able to command large venues. It's true songs such as False Hope are more assertive and punchy, making use of her expanded instrumental colours. Yet her band, a double bass player, guitarist, and drummer, stayed largely in the background, and it's Laura's aloof, reserved yet magnetic charisma that held the hall spellbound. Perhaps her time alone in America has given her a greater sense of inner confidence to remain herself; the lyrics are as ambivalent as ever, and her persona aloof. There were times when I missed the intimacy of January's show at the front of a tiny venue in Hebden Bridge, though this felt like a fuller flowering of her genius, over a longer 90 minute time span. Laura remains one of my favourite performers, being so absorbing, expressive, and emotional: there is such a remarkable tension in the air during her shows.

Set List
Howl
Walk Alone
Take the Night Off
I Was an Eagle
You Know
Breathe
I Feel Your Love
How Can I
What He Wrote
Rambling Man
Love Be Brave
False Hope
Master Hunter
Strange
The Muse
Sophia
Goodbye England (Covered in Snow)
Blues Run the Game (Jackson C. Frank cover)
Daisy
Worship Me
Short Movie

Will Buter, Deaf Institute Manchester, 21st April 2015 8.5/10

An abiding memory of last night is the sight of a member of one of the world's greatest rock bands setting up his gear on a tiny stage an arm's length from me. Around 200 people had the privilege of experiencing Will Butler at my favourite small venue in Manchester, which was utterly energised from the start of the evening. Glasgow five piece WHITE appears to cultivate an air of mystery, as their online presence contains scant information, with a name chosen for artistic reasons rather than for the mundane consideration of search engine optimisation. Yet, a 30 minute set approached fellow Scots Young Fathers' level of energy, driven by a relentless female drummer and a lead singer (pictured below) whose delivery reminded me of Nick Cave's. Their best known track is called Living Fiction, and I'd strongly suggest making the effort to see this band live, as the vivacious spirit of Arcade Fire appears to have permeated their being.

There were moments during Will Butler's whirlwind set when two of my most cherished memories, Coachella in 2011 for The Suburbs Tour, and Blackpool in late 2013 for Reflektor, were brought back to life. A few die hard Arcade Fire fans gathered at the front of the venue, one of whom had attended most of the UK dates since the days of Funeral, and recalled them playing clubs of tonight's size. Will Butler displayed all the anticipated infectious energy on stage, and the crowd jumped up and down to the rhythms. The hour long set was furiously paced, with almost no interruption for talk, drummer Miles Anrtzen even forgoing a chair, standing up lest he risk any drop in intensity. Sara Dobbs and Julie Shaw flanked Will on stage, playing keys and synth. respectively. They also contributed backing vocals, harmonising beautifully as a counterweight to Will's less delicate hyperactivity. Thankfully the lyrics were clearly audible and the sound uniformly excellent, as was the standard of musicianship; there was no sense this was a scratch band assembled for tour. It hardly mattered that the lighting failed to transcend the usual lacklustre level for this venue.

This was of course billed as Will's Policy tour, the album being released in April during the lull in Arcade Fire's three year cycle between touring Reflektor and entering the studio again. It's a homage to his favourite bands including Pixies, The Breeders, and notably Talking Heads, betraying a nostalgia for early rock and roll and punk. Will's spoken of a long held desire to release solo material, but the catalyst for his first album came from the raising of his profile from the Academy Award nomination for the score of Her. It's clear he's relishing the freedom of escaping his elder brother's shadow. Policy's received mixed reviews, and adjectives such as ramshackle could be seen as complementary or otherwise. Nobody could claim that is has the coherence of a masterpiece like The Suburbs. With 8 songs, and lasting less than 30 minutes, it's closer to an EP, feeling more like an experimental snapshot than a definite statement for posterity.

Indeed, it was clear last night he's already developed beyond Policy, which made up only half the set. Will's contribution to Reflektor has been portrayed as instrumental in bringing some levity to a serious band. There's no doubting his playful theatricality on stage, but the solo subject matter doesn't lack gravitas. Three songs from a series written for The Guardian newspaper tackled subjects of Greek Eurozone politics, the water crisis in Sao Paolo, and the discovery of a massive black hole. Unfortunately, we were deprived of the unplugged Violent Femmes encore played the previous night in Glasgow, understandable as the band had to drive through the night to make a morning BBC 6 Music session in London. As expected, the charisma of Will's performance eclipsed the (still impressive) song writing. It's a project born out a a love for the stage, and a burning necessity for creative expression. Clearly, his career doesn't depend upon its longevity, but this doesn't imply any lack of commitment. Raw though it is, this tour feels like merely the genesis of a continuing outpouring of a fertile imagination.

Set List

• You Must Be Kidding (Guardian)
• Son of God*
• Sun Comes Up
• Madonna Can't Save Me Now (Guardian)
• Something's Coming*
• Anna*
• Clean Monday (Guardian)
• Cold
• Sing To Me*
• Luckiest Sailor (new song)
• Ferdinand (Magnetic Fields Cover)
• Witness*
• What I Want*
• Public Defender
• Take My Side*

*from Policy

Låpsley, First Chop Brewing Arm, Salford, 18th April 2015 9/10

Much of the joy and excitement of following the contemporary music scene comes from discovering new artists. Admittedly, 18 year old Låpsley isn't exactly unknown, having played Glastonbury last year and won inclusion in the prestigious BBC Sound of 2015 list. She's also gained recognition on Merseyside and from Radio 1 DJs; the song Falling Short has been played over a million times on Soundcloud. Yet, this was her first headline tour, which commenced only the previous night with a home date in Liverpool. I'd come to Salford on the strength of a Four Track EP, Understudy, with few preconceptions. The Manchester based producer Oceaan appeared to set the scene for an evening dominated by electronica. Oliver Caen's haunting, looped vocals, combined with deep beats and synths blended energy with atmosphere, and to my relief demonstrated this venue had sound of power and clarity. Another clue this was to be an cerebral and emotion experience lay in the Now Wave DJ's selection of Grimes as I entered the intimate venue.

I'd earlier Tweeted that Låpsley was a must listen for lovers of James Blake, with whom she's been compared in the blogosphere, alongside The XX and Majical Cloudz. Yet, when Holly Fletcher walked on stage and stood behind a microphone, it immediately became apparent that this was to be a vocal tour de force, not a sterile electronic gig. She may have produced the Monday EP in her bedroom, and it's difficult to imagine the pressure of expectation of a sold out tour, but this was not the set of a shy producer hiding behind a Macbook. Holly has a soprano voice of purity, note perfect with an almost physical presence. The drummer and keyboard player on stage remained in the background in both senses; there was no danger of the vocals disappearing into the mix here. The impact of the vocals reminded of London Grammar's Hannah Reid, and at times even of Adele.

Låpsley may have the option of future in mainstream pop, should she wish, but crucially her music is subtle, restrained and minimalist. Dancing is an exemplar of this delicate nuance, but a cover of Fleetwood Mac's Rhiannon displayed Holly's versatility. Understandably, Falling Short got the greatest audience reaction, though I was especially taken with the closing Station, with its use of alternate vocal pitches, faultlessly recreated live. The benefits of a classical training could be seen in the sensitive keyboard playing in a song such as the melancholy, delicate 8896, though like much of the 45 minute set, even this was above all a showcase for her voice. With such vocal charisma, and stage presence already, there was never a danger of the gig feeling like an artificial reconstruction of the layers of studio production. Yet whilst I hadn't expected a lengthy set, at times the songs came to a close all too quickly, just as I'd got lost in them. Perhaps this reflects the perspective of someone accustomed to four hour operas rather than that of a digital native, but the ideas have the strength to sustain longer development.

Indeed, Låpsley's extant recordings give only a hint to the ethereal live presence. Despite Glitch apparently living up to its name on the first show of the tour, this was a polished, confident performance with well considered lighting, exemplary backing, and the skilful concealment of any nerves. The necessity of introducing new songs such as Take A Minute did prove to be a little challenging for the audience; background chatter was emphasised by the bright acoustic of a metal lined railway arch. Yet, they confirmed a natural songwriter's gift for melody, alongside a poignant, delicate late night atmosphere. I emerged into the Salford evening impatient for an album release, but above all excited that I already have the opportunity to experience Låpsley again at Parklife in June. Given such a meteoric rise, I'm fascinated to see how she will have developed after even a short tour. In spite of the attention the EPs have brought, the revelation from this evening is confirmation of the emergence of a charismatic live artist. Seize the opportunity to experience Låpsley yourself before the inevitable move to far larger venues.

 

Set List

• Brownlow
• Glitch
• Painter
• 8896
• Rhiannon
• Falling Short
• Take A Minute
• Dancing
• Station

Matthew E. White Manchester Gorilla 1/10

Appreciation of music in public can be fragile, as it's so wrapped up in your emotional state. My relaxed demeanour last night was shattered by an unfriendly and hostile greeting from the security staff at Gorilla, who clearly have little empathy for intellectual, middle class music bloggers. My mood failed to recover from the sense of insecurity that this engendered, and the more familiar issue of ill matched support failed to help. The Irish folk singer Lisa O'Neill had little in common musically or culturally with the main act, and would surely have received a more attentive and fuller crowd if she'd opened for a group with with whom she had greater affinity. I found it telling that she had to correct Matthew E White's first name when she expressed the customary thanks, and the dark subject matter went under appreciated, though at least it was possible to hear the lyrics.

Yet, if you'd attended this gig because, like me, you enjoyed Matthew E White's studio work, your expectations were also likely to have been confounded. As he himself admitted, the four piece touring band sounds nothing like his albums' rich tapestry of sound. Unlike Sufjan Stevens, this lover of lush maximalism feels ill at ease so drastically stripped down. He's a linchpin of the Richmond, Virginia musical community, bringing together 30 local musicians on his first album, Big Inner. This was conceived as a showcase for his label, Spacebomb Records, and only its unexpected success lead him to record a sequel. Fresh Blood has continuity of style with his debut and has had a largely positive reception. Both albums are incredibly subtle and sensitively recorded: the brass and strings were sorely missed live, although his drummer sounded tight.

Touring clearly takes its toll on Matthew: 18 months on the road with Big Inner lead him to develop stress induced shingles. The expectation of playing festivals, and performing on larger stages makes me suspect he's succumbed to pressure to construct an artificial, extrovert side to the act. In 2013, in the more convivial surroundings of Sound Control, his demeanour felt natural. Last night, seemingly endless, tedious between song chatter about football and Anglo American cultural differences shattered the magic of the subtle inner journey depicted in the songs. Hopefully, he will come to recognise that introverted musicianship alone can provide deep insights, and it isn't obligatory to orchestrate incongruous hand clapping or try to compensate for a lack of dancing with a comedy act. This music takes time to absorb and appreciate; I'd recommend you explore it at your leisure, alone and away from venues with little interested in nurturing talent sympathetically. I shouldn't have been surprised that the lighting was insensitive and incongruous last night, though this was far from the greatest disappointment.

The new hit Rock and Roll is Cold was however conceived as an upbeat song, with influences of funk, southern soul motown, and 70's pop. It's therefore unfortunate that, as for much of remainder of the set, the vocals were obscured by the rhythm section. Matthew's voice is a subdued baritone, sometimes a croon; at other times almost a creepy whisper. It's therefore particularly vulnerable to balance problems, which were so severe from the front row that some songs in the 75 minute main set were indistinguishable (I made a rare, but telling decision to skip the encores). The jam-like instrumental sections provided respite from frustration about the hidden vocals and inability to discern the lyrics. Yet, it's Matthew's work in the studio, and with his label, that demonstrate the exquisite collaborative musicianship that was obscured last night. In particular, Space Bomb Records is behind one of the year's strongest releases from Natalie Prass, which has a gorgeously lush Hollywood sound. With luck, her genius will prove more resilient to the translation to a live context when I see her in June than Matthew's appears to be on this tour.

Marika Hackman, Night & Day Cafe Manchester, 4th April 2015 8/10

At the side of Wolf Alice, I was expecting a more sedate occasion for this folk gig, especially after I discovered that both acts were performing solo. Unexpectedly though, the evening opened dramatically with a person collapsing in the street outside the venue, and drew to a close with another audience member on the front row fainting during Let Me In. This reflected the heat in a tiny venue packed with over 200 people, not a rock and roll over-exuberance. It was gratifying to see such a size of crowd, given that only last year Night and Day Cafe was threatened with closure. From the front, the atmosphere was hushed, any chatter being silenced by the intensity of Marika Hackman's musicianship.

Opener Sophie Jamieson (pictured below) is clearly influenced by Daughter, and I was intrigued to imagine how her sound would be enriched by a full band: solo she was most touching. Sophie shares common ground with Marika in her introverted performing style and gravitas of presentation. Yet, musically the main act is even more indebted to Laura Marling, whom she's supported on a European tour. Marika's edges further to the fringes of nu folk though, creating a notably darker atmosphere. We were a long way from the communal party feel of the recently disbanded Noah and the Whale's 2011 gigs. This evening had a serious, even gloomy vibe, songs such as Monday Afternoon contributing gory lyrics. Laura Marling's subject matter, by contrast, is more genteel, though they share a privileged background.

The tempo was almost uniformly leisurely, even languorous, but what was lost in variety was gained in drama. Marika has the ability not only to silence the room, but to draw you in seductively to her world, to the exclusion of all else. This is not achieved by clever stagecraft: she barely moved from her microphone, and nobody was dancing. Instead the power came from the tangible, palpable sense of unease in the music, reflecting the fact that her début album was written at a time when she was suffering from anxiety attacks, and insomnia. Her vocal delivery, too is distinctive: she sings in a deadpan manner, but with a husky and delicate timbre.

The set felt remarkable coherent, or uniform, depending on your perspective; though a highlight for me was the Joanna Newsome cover 81 from her Sugar Blind EP. Marika is testament to the very English power of emotional restraint, and to beauty. She's explained that the influence of the classical music she studied at A Level:  'I love choral music particularly... that sort of darkness to it and the suspensions and the clashing chords which are so incredible'. Perhaps this helps to breath a sense of nostagia into her album, the same yearning quality I appreciate in Elgar's music. We Slept At Last incorporates electronic sounds, signalling its expansion beyond traditional folk boundaries. Marika might have needed this assistance to recreate the atmosphere in a larger venue, but on this occasion in Manchester, she was able to create magic of an exquisitely delicate nature without the need for a band or visual aids. I'm excited to follow this 22 year old's development.



Setlist

• Retina Television
• Drown
• Cannibal
• Deep Green
• Next Year
• Itchy Teeth
• Monday Afternoon
• Animal Fear
• Claude's Girl
• Ophelia
• You Come Down
• Plans
• 81
• Before I Sleep
• Let Me In
• Skin
• Cinnamon