SWG3

Gregory Alan Isakov – SWG3 Galvaniser’s

Live music, Music Review

Gregory Alan Isakov may have set down roots in the US state of Colorado, both figuratively and literally, but he is very much at home in Scotland. It’s unsurprising, given this country’s traditions of crofting and folk music – vocations that still go hand in hand to this day – but he also lived in the far north east of the country for a while, tending earth and songs, and always speaks fondly with candour about the people and places he connected with here. His music naturally embodies the richness and simplicity of life attuned to the minutiae of the everyday, contextualised within the vastness of the Universe. It is both intimate and expansive, intentional and meandering, specifically surreal, and embellished with an intangible magic that is uniquely Isakov’s.

On his most recent album, Appaloosa Bones, his first new music in five years, Isakov explores the breadth and depth of human experiences he observed in recent years; he spotlights our strange collective loneliness, hardships and sorrows, as well as the strength and beauty of our relationships – romantic, platonic, situational or otherwise. Sonically the album is a little rawer than his previous compilations; it instinctually stays closer to home and only soars when absolutely necessary. Isakov said he initially set out to create a lo-fi rock record but as the songs of Appaloosa Bones revealed themselves over time the timbre of the project became something more gentle. Similarly when it comes to crafting live performances the songs take the lead.

The delicate tones of the A-side tracks on Appaloosa Bones punctuate the set with brighter moments of reprieve; Before The Sun and The Fall chime with glistening banjo and piano motifs and subtly-hinted optimism. Dark, Dark, Dark offers some deep catharsis before Steve Varney’s swirling, ethereal guitar takes flight across San Luis. Emerging in shadowy silhouette, Jeb Bows’ plaintive violin heralds the opening to a darker passage; This Empty Northern Hemisphere is a journey in which Isakov Goes Electric. It rattles and rumbles, cascading and ascending again as the six musicians on stage wrestle to contain their own sorcery, finally crash landing into a rapturous reception.

Isakov emerges briefly from within, apologetically breaking the fourth wall to introduce his “best friends” in the band before theyturn their hearts and hands to the tenderness of Miles To Go, a troubadour’s ode to life on the road, carried along by piano, steel guitar and harmonica.Big Black Car provides more opportunities for the band members to shine as they trade solos, in the true folk tradition, and then it’s time for them to step out for some air. Isakov takes the spotlight himself, just for a moment, as 3am pleads with regret and promise and resignation into pin-drop silence.

For as much as he deliberately says very little throughout the set, he makes a point to thank the audience profusely for their attendance. It seems like more effort and sacrifice goes into just getting out of the house these days and artists are at the mercy of many factors beyond their own popularity or commercial success. This has never been lost on Isakov despite him consistently selling out consecutive tours across Europe at increasing capacity. SWG3 Galvanizers marks his biggest headline show in Scotland and while the staff are typically lovely and the technical aspects are world class it can be a struggle for some punters to navigate transport around the venue, and in terms of ambiance…well, it’s industrial (in the nicest way) which sets the stripped down performance of Second Chances in stark relief, even within a collection of mellifluous folk ballads. Isakov, Varney and Bowsconjure a graceful waltz while the audience stands spellbound, overawed and barely swaying.Liarsdoesn’t so much build as explodes out of nowhere, a crescendo before the third act.

Dandelion Wine and Chemicals are particular fan favourites, adored for their simplicity and visceral immediacy, and each receives deserving reaction. Isakov prefaces the title track of Appaloosa Bones saying that it’s “too depressing, we’re not gonna leave you with this” before winding up the set with the gloriously weighty Caves, its meditative refrain inviting a full-bodied singalong: “Let’s put all these words away”.The enraptured audience obliges and then begs for more so an encore is respectfully provided. The intricate beauty of Amsterdam and a captivating rendition of The Stable Song– just Isakov on acoustic guitar and Varney on banjo – preludes the stunning finale of the whole band performing Silver Bell around a single microphone, open hearts firmly front and centre. The audience response lasts until well after the house lights have come on. It’s this generous reciprocity between Isakov and his fans that sustains the love between us over the years and many thousands of miles, that keeps him coming back no matter the size of his audience. And in truth, there’s hardly a room left in Scotland big enough to contain the adoration of his fans. Regardless of where he plays, of course, he’s welcome here any time.

Marcus Mumford – SWG3 TV Studio

Live music, Music Review

Marcus Mumford’s (self-titled) is one of this year’s best albums. However you want to qualify it – by genre, by gender, by place of origin, by personnel – it’s a stunning piece of work. The songwriting is imbued with vulnerability, integrity, joy and resolution; the performances reflect a deep respect for and cohesion with the songs, and the production is flawless. Of course, none of that guarantees a great live show, even for an experienced artist like Mumford. For a really brilliant gig, the stars have to align in just the right formation; the venue, the crowd, the setlist, support, the band, even the weather conditions play a role in conjuring those truly memorable occasions. Was Saturday night in Glasgow one of those nights? Probably. Yes.

Despite musically never expanding massively beyond their humble indie-folk beginnings, Mumford & Sons have been a big deal – worldwide – for over a decade now. The idea of Marcus Mumford playing a room as (relatively) intimate as SWG3’s TV Studio is almost too much excitement for a lot of fans who have queued since the afternoon, somehow evading the periodic heavy showers. The venue is three-quarters full by the time Monica Martin steps on stage for her too-beautiful and too-brief support slot.

The former Phox singer has been honing her solo material for a number of years now, revealing that an album is finally imminent. Martin opens her set with the raw and melodic Cruel, accompanied on keys and stripped down percussion by Jake Sherman. The sparse arrangement allows her smoky and tender vocal to shimmer. She follows up with one of Sherman’s songs, Maureen, which she remixed and featured on this year, apologising to anyone in the audience named Maureen. “It’s not about you, I promise,” she quips. The crowd participation on “sad disco” track Say is encouraging and Martin is obviously delighted by the audience’s engagement which allows her to adlib some delicate and alluring vocals over the song’s ending. The highlight of her set though is its closer, Go Easy, Kid. A song about showing self-compassion, recognising one’s own flawed humanity, and not taking life’s knocks too seriously, it’s a perfect starting point for what’s to follow. Delivered with such a classically constructed melody and starkly vivid lyrics, it swaddles like a decades-old number 1.

When Marcus Mumford appears on stage the applause is a mix of nervous anticipation, polite expectation and unbridled adoration. He almost delivers his own warm-up in the first two acoustic songs – both Mumford & Sons hits, Awake My Soul and The Cave – which lyrically and thematically foreshadow a lot of (self-titled). This seems to placate the audience’s appetite for the old material while giving Mumford a chance to pace his introduction of the new project. It’s been a while since Mumford & Sons have toured or recorded together, so the singer is quick to address the elephant in the room; once these solo shows are over he plans to get back to his day job with the band.

Accompanied now by a four-piece band, the body of the set follows the running order of (self-titled). It couldn’t really be any other way. The album has a natural arc; a tension and discomfort which reveals at Cannibal and resolves at How. It’s a progression and journey towards healing and liberation with some very dark stops along the way. However, far from being an ugly and painful sonic exploration, the darkness is cut with so much beauty and love and understanding and forgiveness.

The captivating beginning of Cannibal eventually crashes with so much explosive release that it causes punters at the bar to jump. The sound ricochets off SWG3’s bunker-like walls and ceiling, hitting the audience with invigorating force. The room is alive! Grace immediately sees hands and pints swaying in the air as the intricacies of the full band set up are revealed. It’s definitely a rock show, there’s no doubt about that. “I can tell already this [show] is going to be one of my favourites,” Mumford declares.

Better Off High is another big hit with fans that sees Mumford unleashing his distinctive vocals and exorcising some problematic self-perceptions. Who can really judge whether singing about addiction should feel this good? Dangerous Game swells majestically, accompanied by pulsing red light and concluding with a blistering guitar solo from Mason Stoops. Mumford appears to be having the time of his life with this band and crew. Highlighting the fact it’s his guitar tech Ryan’s birthday, he leads the crowd in a Happy Birthday singalong before recording a “fuck you” message to his former tech who left him to tour with Harry Styles. It’s a most charmingly passive-aggressive bit of stage shenanigans that punctuates the last part of the main set.

Bringing Monica Martin out to sing her part on the stunning hymnal Go In Light is an obvious crescendo but, not content with this confection alone, the audience is then treated to the heavenly vocal talent of Madison Cunningham on Stonecatcher. Performing an entire album that clocks in under 40 minutes – even with expansive guitar solos and Billy Connolly references – doesn’t make for a long show so following the arresting set closer How, Mumford leaves the stage for an ornamental encore effect and returns without even feigned demand.

The conclusion then consists of a Taylor Swift cover and two of Mumford’s Bob Dylan/Taylor Goldsmith co-writes from The New Basement Tapes record Lost On The River, each far sultrier than Bob would’ve ever dreamed. The night finishes with Mumford alone and unplugged on the edge of the crowd singing I Will Wait, ironically after a much delayed start due an audience member having fainted deep within the crowd and requiring assistance. The whole experience has been harmonious and communally blissful, and this final act of trust and intimacy is a rare privilege which the audience dutifully respect and reciprocate. The room remains almost pin-drop silent until the crowd is invited to join in on the final chorus. Truly an unforgettable evening.

Photo: Marcus Mumford by Kendall Wilson

Shakey Graves – SWG3 TV Studio

Live music, Music Review

It’s been more than a minute since Shakey Graves played to an audience in Glasgow. The artist from Austin, Texas was scheduled to appear at The Art School back in March of this year but the so-called “Beast From The East” snowstorm brought an early end to his tour and Scottish fans were left bereft for the time being as the show was cancelled, rather than postponed. Gratefully, another tour was announced for the Autumn but in the wake of the Glasgow School of Art Mackintosh Building fire an alternative venue was chosen and ultimately the gig took place in SWG3’s TV Studio – the very same room Shakey Graves last played in Glasgow over two and a half years ago.

Shakey Graves is the nom de plume of Alejandro Rose-Garcia, whose reputation precedes him through a kind of cultish following. He’s far from the mainstream as far as UK music press is concerned, yet he can find a devoted audience on just about every continent. This latest tour is in support of his new record Can’t Wake Up, released in May on Dualtone and, as anyone familiar this artist will attest, it’s a vastly different sound he’s touting these days.  Gone are the crunchy blues guitar riffs, raw-worn vocals and erratic one-man-band percussion. In their place is an overall more polished, controlled production; the lilting melodies and jaunty accompaniment have a kind of soft-focus and even Rose-Garcia’s voice is pastel-toned. Lyrically the songs are as mythical and mystical as anything in the alt-folk /Americana / country blues / southern rock canon, but with an added dreaminess that elevates them from being intensely personal to universally quizzical.

How then to marry these diverse sonic themes into a cohesive live set? Well, if anyone can do it and do it convincingly, it’s Shakey Graves. A stunning support set from Pennsylvanian artist Petal precedes the main event and is tragically disregarded by sections of the audience. Not even her exquisite cover of Fleetwood Mac’s Silver Springs could grasp the attention of many but it’s nothing personal; for reasons beyond comprehension the crowd are as distractedly chatty throughout the entire show.

Arriving solo to the stage Rose-Garcia begins in familiar territory that sees the most vocal of his audience joining in. Armed with just an electric guitar and his suitcase kick drum and tambourine combo Roll The Bones glistens. The Perfect Parts swings into a pretty rendition of Pansy Waltz before he is joined by the other three members of his band. Christopher Boosahda on drums, Jon Shaw on bass and Patrick O’Connor on guitar complete the Shakey Graves touring line-up as well as being the core performers on the latest album. Immediately the more sophisticated beat behind Big Bad Wolf introduces the next chapter of the show gently. The mesmeric chirp of guitar on Mansion Door distracts from the darkness in its lyrics while the airy shuffling blues of Dining Alone lays its misery bare. The mood is never quite sullen and Rose-Garcia’s expression always tells more than each tale reveals.

Unknown Legend is the point where it really comes together, where the band and crowd are fully invested and committed to the groove; guitars are playing off one another, smiles are being exchanged and Rose-Garcia is especially talkative and comfortable in his banter. Excuses capitalises on this sweet moment with particularly dynamic playing – loud drums against soft vocals – matching the urgency of the lyrics “I can’t wait for summer, I can’t wait for spring / I can’t wait for someone who can’t wait for me”. It’s a natural climax at this point of the night and is followed up with yet another change of pace. Adequately sweaty for now, the band takes their leave to allow for a set of rootsier acoustic songs; Tomorrow, Family Tree and City In A Bottle prove to be definite crowd-pleasers with phones hoisted to film throughout, while the poignant Word of Mouth closes out the set in hushed awe. It’s a lengthy moral that ebbs and flows, drawing the crowd in until they’re hanging on every word. Shakey Graves is the complete entertainer at this point; he sticks his plectrum to his sweaty forehead for a time and dances on the spot. The crowd goes nuts. As the band returns and is officially introduced there’s a sense that the night is still just warming up but quickly then the realisation that we are, in fact, nearing the end settles and the crowd becomes restless and shouty once more.

A boisterous and out of tune singalong ensues on Dearly Departed which, from the band, seems to lack effort in the face of such an energetic reception. Rose-Garcia acknowledges the strict curfew saying “I’m not even going to fake going off” as he ventures one final morbid tale; Late July. The ending hits hard and he blows a kiss from the stage before waving farewell to his adoring fans. With such an extensive back catalogue to choose from, sixteen songs is never going to feel like enough for the cult of Shakey, but they take what they can get and show their fervent appreciation. It’s not so hard to settle for quality over quantity and there’s no disputing; this was a quality performance.