Tramped by Turtles, Night and Day Cafe Manchester, 4th June 2013 9/10

Trampled by Turtles has performed for ten years and released six albums, so it would be unfair to assume they are opportunists  riding on the Mumford and Sons' wave. There is nothing fake or inauthentic about this band from Duluth, Minnesota. They started to gain greater public attention after releasing Palomino in 2010, but it wasn't until last year with Stars and Satellites that they gained national TV recognition, performing on Letterman. This most recent album has tragic emotions, notably in the incredibly moving Widower's Heart, performed near the end of the main set in Manchester. Midnight on the Interstate was similarly reflective, and exceptionally sensitively played. Sadly some of these quieter songs were marred by chatter from the audience; it was the end of an usually sunny day in England, it sounded as some had been drinking outside all day.

In view of the mood of the audience, the more extrovert songs such as Risk made the greatest impression. Trampled by Turtles are notable for their extreme emotional range, and at times this small venue felt as if it was in the midst of a Scottish Céilidh. There was a celebratory feel, helped by cries of enthusiasm from the crowd and some amazingly energetic dancing from some at the side of the stage. Despite moments which brought me close to tears, this near two hour performance felt like a party. There was only brief talk between songs: front-man Dave Simonett has a modest personality. He's also blessed with a charismatic, nasal voice, an expressive instrument well suited to the melancholy moments, even if remarks in some reviews suggested it can be an acquired taste.

By far the most exceptional element of Trampled by Turtles though is the virtuoso instrumental playing. Ryan Young's intricate fiddle solos were breathtaking, whilst it was unsurprising that mandolin player Erick Berry broke a string an hour an a half in. David Carroll was indefatigable  on the banjo in songs such as Sorry, whilst bass guitar player Tim Saxhaug (the only unbearded person on stage) contributed to the warmth of the sound; a drummer wasn't missed. Saxhaug stepped up to the microphone to convincingly front the vocals on the cover Swimming Song, but above all this was a communal, team effort, honed by years on the road. They took advantage of this with extended instrumental sections.

Fleet Foxes-like vocal harmonies were on display at times, but the raw energy and speed from these acoustic instruments was staggering. They create bluegrass with a punk or metal sensibility: genre is irrelevant in the face of such musicianship. Trampled by Turtles' execution is so perfect, and their ensemble so tight, that the moment they start playing, you're exhilarated. As when watching Alamaba Shakes, I was mesmerised, hanging onto every note. Yet, the subtlety of the slower ballads such as Alone from Stars and Satellites prevented the gig feeling relentless or raucous as Avvett Brothers did in March. Buoyed by the current resurgence of folk and roots music, Trampled by Turtles is now playing large venues in their home country. They deserve wider recognition in Europe, yet I will remember the joy of this experience from the front row of a small cafe for a long time to come.

Set List

• Ghosts
• Help
• Risk
• Victory
• Midnight on the Interstate
• Alone
• Sorry
• Codeine 
• November
• The Calm and the Crying Wind
• Keys to Paradise
• It's A War
• Walt Whitman
• Swimming Song
• Turkey
• Wasteland
• Widower's Heart
• Darkness
• Wait

Iron and Wine, Manchester Opera House 30th May 2013 8/10

My first experience of Iron and Wine live in 2011 was transformative, giving me faith in the power of live music to inspire. Sam Beam was suffering from a cold, yet this did nothing to dampen his good humour or he the melancholy magic in the music. That was only my third gig, and given the amazing live music I've seen since, I hoped more than nostalgia had drawn me to see them for a second time. Iron and Wine's latest album, Ghost on Ghost, has a fuller sound, and despite attracting favourable reviews I have found it a little low voltage and middle of the road. I was hoping that this would once again prove to be a band who have a different existence live, but the opening song New Mexico's No Breeze felt slack and lacking energy. Its style reflects 70's Motown and funk influences alongside their traditional Americana.

Yet I needn't have worried, since Sam Beam has a real gift of communication with the audience, his charisma casting a hushed spell. He doesn't dance vigorously around stage, wander far from his microphone, or ever look likely to jump off stage and join the audience. The power of this performance was in his sheer musicality, and particularly in a gift for melodies which sound utterly timeless. Sam's quiet humour quickly put the audience at ease, and provided a contrast with intensity of the songs. The audience listened spellbound, and incredibly intently; helped by the venue discouraging photography. In fact, despite the lack of formality from this former college lecturer, I was reminded of the rapt concentration commonly found at classical concerts. This reverential atmosphere was reinforced by the seated format and grandeur of the opera house architecture.

Sam remarked cheerfully that he'd only been playing with this band for two and a half weeks. The string trio, 3 backing singers, drummer, organ player, bass guitarist and particularly 2 saxophonists and a trumpeter filled out the sound. This reflects the production of Ghost on Ghost, yet to my taste many of these songs evoke a vaguely serene pleasantness, sounding too polite. Happily, Sam ranged widely through his back catalogue in the 20 or so song set. There is of course much pastoral beauty here, but moments of despair and torment gave a welcome emotional contrast. However, at the end of the core acoustic section of the gig, the new song Galveston (named after the Texas town) impressed more than much of the other new material. It was this section, when Sam dispensed with his band and took requests from the audience that was most moving, the highlight being Trapeze Swinger.

Sam's a modest performer, with a beautifully resonant voice. He explained self-effacingly: "Just because you read a bunch of books doesn't mean you're a complex person. I have pretty base emotions." Yet his lyrics make extensive use of poetic imagery, the product of a fertile imagination. Raised a Christian, he's now agnostic and the quiet power of his work can in part be attributed to his belief: "there's an undeniable unseen world that some people call God". Maybe this awareness helps Iron and Wine to create a mellow magic live, which is merely hinted at by their recent studio work. He kept thanking the audience for coming along; I'm sure many like me will be back when he tours his next album in Europe. Whatever you think of his new album, live Sam Beam is an artist who will sooth your soul.