Anna Meredith, Soup Kitchen Manchester, 24th March 2016 9/10

Anna Meredith first came to my attention when her piece froms was premiered at the Last Night of the Proms in 2008, to the disgust of some conservative observers who believe that music reached its zenith in the late nineteenth century. Happily the audience last night at her first ever gig appeared to be more open minded, and clearly had much fun. This British classical composer has apparently long held the desire for an electronic project; though she has discovered that life in world of indie, without public subsidy, is financially difficult, so her solo album was delayed whilst the completion of paid commissions took priority. When it was released earlier this month, her debut Varmints gained critical acclaim: I suspect the coveted 'Best New Music' accolade from Pitchfork helped to explain the crowded basement last night and that her London date has sold out.

The avant garde support act Mother prepared the ground with their mind expanding experimentalism. The lead singer came on stage with a plastic bag over her head, and the guitarist wore a veil: opening with a furious climax, they initially felt reminiscent of GOAT in the atmosphere they created. Yet, whilst they maintained an element of mystery, without any talk, the mood soon shifted, the wide dynamics of classical music being invoked during long, delicate female vocal passages. To this were added crunchy, deep bass synth and electronic effects, and a compelling freedom of movement and dancing. I'm so appreciative that this at times bizarre Manchester act stretch the boundaries of convention, and like Anna Meredith they encompass wide influences without respect for genre.

Varmints opens with Nautilus, which has a rich orchestral sound with brass: this wider soundscape immediately signals why this debut album has greater appeal for me than her two early EPs. Any scepticism about how it could be replicated in a club environment was immediately overcome: alongside the rock drummer and electric guitar were acoustic players Tom Kelly on Tuba and Gemma Kost on cello. Anna herself juggled an immense workload on keyboards, vocals, and clarinet, in contrast to her usual passive role as composer when others interpret her concept. The track Taken was sung as a vocal trio in harmony, and throughout this vigorous performance they belied the danger that electronic music adds little live. The thunderous bass gave a visceral thrill that acoustic classical music struggles to replicate, and the volume level was immersive.

There was visual interest too: Anna was expressive, helping to inspire a contingent in the audience to dance, and her enthusiasm and positive energy was clear. She talked confidently between songs, as if unshackled from the relative stuffiness of classical convention. This may have been the opening date of the tour, yet it had clearly been planned meticulously. Her sister's artwork was projected onto the screen behind the stage, the quirky animals and monsters reflecting the 'musical pests', or ideas that couldn't be shaken off, in the album's title. Varmints also benefits from a control of structure: Anna's experience in crafting extended forms (she maps out the progression of a piece graphically before writing it) gave a satisfying shape to the evening. The hour long main set consisted of all but the final song of the album, though the order was varied to guard against predictability, whilst the encore was surprisingly inspired by Celine Dion. Far from feeling derivative, Anna's unorthodox background for a producer has brought new energy into the live presentation of a popular artform, combining intellectual insight with surprising spontaneity of performance. If you're unable to get tickets for the remainder of this tour, I'd urge you to listen to Varmints, one of the most creative, unexpected albums of 2016.

Set List

• Nautilus
• Scrimshaw
• Taken
• Last Rose
• R-Type
• Something Helpful
• Orlok
• Honeyed Words
• Shill
• Dowager
• The Vapours
• Never Wonder (encore)

Mother (support):

Grimes, Manchester Academy, 12th March 2016 10/10

It was clear Grimes would prove to be an electrifying experience from the moment Genesis began, accompanied by amazing choreography, with a crowd of two thousand united in joy, synchronised to the beat, singing along with total commitment. The evening had started auspiciously, the confident opener HANA feeling more like an integral part of the show than a warm up act. She'd already showcased her dancing abilities in that solo set before joining performers Linda and Alison on stage to create an incredible energy. Claire Boucher, a friend of HANA's, was visually mesmerising too, constantly moving around stage, so committed that at the end of Realiti she screamed into the microphone. This was followed by another song from her recent album Art Angels, Flesh Without Blood, where taking up the electric guitar did not stop Grimes continuing to move.

Art Angels moved from electronic experimentation towards a pop direction, but live, the musical language was further simplified to the service of the beat. The bass was thundering, in contrast to the baroque music that we'd been listening to for 90 minutes until this point. The choice was thoughtful: not only did the discontinuity in energy heighten the explosive effect of Grimes' contemporary beats, but Handel, Bach, and Corelli signposted the evening's theme, since their music is also rooted in dance. Like Zola Jesus, whose set at Latitude last year shared a similar intensity, Grimes has absorbed Western classical musical culture, and indeed studied ballet for 11 years. Her genius is to take the genre of K-Pop and transform it into a work of art, aurally and aesthetically. A polymath, Claire apologised for being unable to replicate guest singer Aristophanes' Mandarin on the record, only to perform Scream in Russian instead.

Creativity on this level is made possible through the meeting and cross fertilisation of cultures, an insight that American political debate surely needs to absorb at a time when some advocate the construction of walls. When Grimes signalled that the bass was about to start in earnest before Venus Fly, all boundaries between the eclectic but ecstatic audience disappeared: if only life could imitate art. Whilst making music, Claire was flamboyantly, joyously in character, but talking, she seemed almost embarrassed by the crowd's response, and before the final song, the explosive Kill V. Maim, she had to explain that she didn't do encores. In an all too short 70 minute set of such concentrated inspiration, picking out highlights feels superfluous. However, a reworked dance version of Be A Body from Visions, described as a 'deep cut', exemplifies her re-invention of studio material for a live setting. The stage set itself was minimalist, reflecting Claire's passionate belief in sustainability; this only served to focus attention on the act.

Grimes' emergence on this tour as such a ferocious pop act is reminiscent of St.Vincent exploding onto the gig circuit in 2014. If there's any justice, Claire will achieve the critical and popular recognition that tour brought Annie Clark, having swapped a once slight presence for command of the entire venue. Songs like My Wait Is U and Oblivion takes you on a dream like journey. For sheer all-absorbing escapism, this set ranked alongside Arcade Fire's in Blackpool in winter 2013. That had a similarly electric atmosphere, and last night's celebratory, party atmosphere proved so helpful on what had turned out to be my first day of unemployment after losing a job of several years the day before. Her ethereal and otherworldly falsetto voice, combined with endlessly inventive production and composition add to the belief that few could have left Manchester University doubting Grimes' genius. One can only hope that the higher state of consciousness that makes such art possible can somehow have a progressive influence on the world outside.

Set List

• Laughing and Not Being Normal
• Genesis
• Realiti
• Flesh without Blood
• Scream (Russian lyrics)
• Venus Fly
• Butterfly
• Be A Body (new version)
• Go
• Symphonia IX (My Wait Is U)
• Oblivion
• World Princess Part II
• Kill v. Maim

HANA

Adele, Manchester Arena, 8th March 2016 7/10

Adele has famously shied away from arenas, due to stage fright: she played the 3,500 capacity Apollo when I saw her in 2011. Indeed, in her 21 days, she claimed she'd rather perform for 12 years at the Barfly than move up to the O2. I'm averse to large venues too, so I came to regret her change of heart from the back of the 15,300 strong crowd in Manchester Arena, on the second of a four night residency. I still felt grateful to be there at all: the scramble for seats in Manchester made the BBC News, and despite an attempt with Songkick to control the secondary market, tickets were reportedly changing hands for thousands of pounds. Adele's remarkable commercial success is due in large part to her personality and judicious positioning in the marketplace: this article explains that her rise to one of the world's biggest entertainment brands has been planned and calculated meticulously. Even a rare sub-standard performance at The Grammys last month was dealt with adeptly, when Adele Tweeted she'd indulged in fast food to cheer herself up, and revealed to Ellen she'd cried all of the next day.

Yet, Adele's rise is rooted in her vocal ability, and on last night's evidence, her voice is as sonorous and emotionally charged as ever. Her previous tour was curtailed by vocal problems: no such chances are being taken this time, as she explained she's not even allowed to consume any alcohol, lest it affect her vocal chords. The opening Hello showcased this talent and created real drama; yet as she moved onto the main stage and belted out Home Town Glory, my first concerns about the evening's predominantly ponderous tempi emerged. She enunciated perfectly, so even those sat in the gods could understand the lyrics, but the large acoustic acted as a drag on momentum. During One and Only, the band was unveiled: as befits the production budget, a six piece was joined by a twelve strong orchestra and three backing singers. The stage design and lighting were clean with an Apple like minimalism: aesthetics took priority over practicality, as the only video screen was recesssed behind the band, and so obscured from view for some of the audience.

Rumour Has It was a high point, but then the mood sagged with the bland Water Under The Bridge and a cloying rendition of I Miss You. These songs served as a reminder of how safe the songwriting is on 25, governed by an overwhelming reluctance to offend middle England. Alas my favourite recent song, River Lea, was omitted. Skyfall, with dramatic lighting, brought some welcome tension, and Don't You Remember showed the positive influence of her time in Nashville writing 21, even if the expressive gestures seemed exaggerated at this Manchester performance. The tension sagged for a stripped down, acoustic rendition of Send My Love, to be followed by a real highlight in the moving Dylan cover Make You Feel My Love, which brought tears to Adele's eyes. The inconsistent musical interest continued though, so a stirring, virtuoso Set Fire To The Rain closed the main set with grandeur, only to be followed by a tepid All I Ask as the first encore.

The support act turned out to be Adele herself. Introducing each song at length, she was conversational in the manner of a chat show host, providing entertainment for those who couldn't contemplate having to sit listening to uninterrupted music for two hours. Alexis Petridis of The Guardian argued that her charm allowed her to 'get away with stuff that shades into end-of-the-pier entertainment', yet I found that the constant jokiness and interruptions to allow audience members to take selfies with the star interrupted the transcendent magic of the music. Yet, there were moments of illumination, such as when Adele explained that Someone Like You is now 'your song', as her life has moved on from such heartbreak, and then invited a young audience member to join her on stage to sing it. Introducing When We Were Young, Adele talked in a heartfelt manner about becoming a mother, and the song was illustrated with pictures of her as a child, and pregnant. Earlier, she'd described meeting A list actors at The Academy Awards as if she was one of us, and she brought a sense of spontaneity to her frequent interactions with the crowd.

Adele's appeal can be compared to that of the British Monarchy. Like The Queen, nobody could dislike the person, and only a small bunch of snobbish intellectuals disapprove of the institution or music in principle. Both have a commanding presence, but cultivate an approachable, down to earth image, seeking common ground to allow their audience or subjects to relate to them in spite of their privileged positions. They even parade their vices to appear human, be it horse racing, or last night a propensity to swear in public, whilst at the same time remaining god-like. Adele's slow progress through the crowd moving to the B Stage, accepting gifts along the way, recalled a member of the royal family greeting the public. If there is a crisis of succession, and the concept of Charles III proves too controversial, Adele would surely be widely welcomed as a substitute ceremonial head of state. Yet, for all the attempts to portray herself as ordinary, the final sing along to Rolling In The Deep was a reminder that she in fact has a rare and special talent as a performer. This charisma transcends the limitations of a mediocre third album, and physical distance from the stage, as a reminder of her ability to move and unite the nation, collectively.

Set List

• Hello (started on B stage)
• Hometown Glory
• One and Only
• Rumour Has It
• Water Under the Bridge
• I Miss You
• Skyfall
• Million Years Ago
• Don’t You Remember
• Send My Love (To Your New Lover)
• Make You Feel My Love (Bob Dylan cover)
• Sweetest Devotion (partly on B Stage)

On B Stage

• Chasing Pavements
• Someone Like You
• Set Fire To The Rain

Encores

• All I Ask
• When We Were Young
• Rolling In The Deep

Lapsley, Manchester Academy 2, 5th March 2016 8/10

When I first saw Lapsley under a railway arch in Salford, less than a year ago, I felt real excitement about her potential. Now, playing to a crowd whose size she'd described as 'scary', she's at a turning point in her career, gaining attention in America and releasing her debut album. Early press reaction to Long Way Home has been favourable, and I'm sufficiently enthused to predict that it will make my end of year list. It's very much of the moment, inhabiting the same universe as the fashionable Jack Garratt: indeed the anthemic Love Is Blind has been playlisted by Radio 1. Commonly cited influences for this minimal electronica include The XX, London Grammar, and James Blake. Tracks like Falling Short also embrace R&B, and a sometimes disparate collection also draws from Motown in Operator. From the attention her early Soundcloud uploads gained, to her inclusion in BBC Sound of 2015, and an appearance on The Late Show in America in January, her ascent appears almost effortless.

The comparison most frequently made is with her 4AD label mate Adele. Musically, Lapsley is far more adventurous and approaches songwriting from quite different direction. Holly Fletcher is classically trained, gaining insight into the world of dance only later through trips to raves as a rebellious young teenager. She explained in an interview that: “I was very much a creative person, and I kind of hated playing (classical) music because it was written by somebody else.” She came to realise, like Anna Meredith who also released an electronic album on March 4th, that Beethoven would probably be composing for a Macbook, not a symphony orchestra, if he was alive today. Yet, the album isn't merely an intellectual exercise: like 21, it was inspired by a relationship, in this case with a boyfriend who had severe OCD. In another parallel, the tone is melancholic, but Lapsley's sadness is channeled inwards. Yet, I hope her early success demonstrates that public taste can be challenged, rather than simply being followed, as on 25.

As a performer, Lapsley is far more reserved than Adele, a desire to adopt a detached demeanour perhaps explaining the curious Scandinavian accent in her stage name. The performance in Manchester was note perfect, yet it took a few songs for her to relax on this first night of the tour, and I'm sure experience will allow her to take greater risks. Lapsley seemed completely unfazed by the chattering capacity audience, whose lack of consideration can't be attributed to the unfamiliarity of the songs, as they barely quietened during the two numbers from Understudy. The closest affinity to Adele is in her down to earth between song chatter: she described the lighting rig as 'wicked' and compared its shape to a vagina. I'm sure that her Wirral accent will charm and slightly bemuse her American audience. It would also be a mistake to suggest, due to her inward looking music, or gender, or age, that Lapsley's lacking in confidence: she's clearly exceptionally gifted.

Lapsley's highly independent, and despite previously explaining: “I don’t like the friction of being in a band. I’ve got my own ideas", was joined on stage by three musicians who helped to recreate the studio production. She enlisted the help of Savages' collaborator Rodaidh MacDonald for Love Is Blind, yet is training as a producer so she can be in complete control of her second album. The band accompanied sensitively, yet my highlight of the hour long set were the simple, early song Painter and Dancing, performed solo with real sensitivity from the keyboard. I suspect that in time, Lapsley may develop lyrics of greater poetic depth, but alongside her compositional originality, she possesses considerable vocal gifts. Her voice can be ethereal and beautiful, but in lieu of a second vocalist, she cleverly shifts its pitch electronically. Such production flourishes, far from detracting from the emotional core of her work, deepen its impact. Such is the rate of progress of this prodigy, that I'm already feeling excited to experience her development by April at Coachella.

Set List

• Burn (B side from Hurt Me single)
• Tell Me The Truth
• Cliff
• Falling Short
• Dancing (from Understudy EP)
• Painter
• 8898 (from Understudy EP)
• Silverlake
• Operator (He Doesn't Call Me)
• Station
• Love Is Blind
• Seven Months
• Hurt Me (Encore)