UK Touring

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.

The Decemberists – O2 Academy Glasgow

Live music, Music Review

It’s an unexceptional Monday night in November that sees an audience gathered in the expansive darkness of Glasgow’s O2 Academy. It happens to be Bonfire Night which seems as good an excuse as any to stand around and listen to folk songs, and for this occasion you’d be hard-pressed to find a more literary story-teller than The Decemberists’ Colin Meloy. The communal spirit that his band embodies is alight in their followers too, and from the moment the band walk on stage there’s a warmth in the air. Fans haven’t just come to bear witness, they’ve come to take part.

A joyful opening set by Philadelphia’s Hop Along is encouraged despite the contrasting weight and density of the two band’s sounds. The overall energy is well matched and there can be no doubt the responsibility of the “warm up act” has been fulfilled.

With his harmonica poised Meloy gives a gracious welcoming salute as the rest of The Decemberists take up their positions.  Don’t Carry It All draws directly on the crowds in-it-together attitude with some vibrant singing and clapping along right from the outset. It’s apparent  early on that fans are elated to see the band again, as song after song is received in similarly boisterous fashion. The first half of the set builds momentum with some catchy choruses and powerful imagery. Blending new songs with the older catalogue happens around some of the more angular melodies; Cutting Stone into Shankill Butchers and despite wheeling out these darker themes early on the feeling in the room remains upbeat.

The Decemberists have a delightful knack for masking miserable tales behind jaunty mandolin and accordion but they also present honestly dour folk, as on the plaintive The Engine Driver which features two 12-string guitars for added pathos. This turns the midset into a rather gloomy interlude and yet the crowd responds with ever growing enthusiasm. “How about a song about the end of the world then?” offers Meloy before launching gleefully into Calamity Song. It’s a considered about-face of sorts, giving a glimmer of hope for at least sonic redemption before plunging deep into the grand tragedy of The Crane Wife 1 & 2. This song has possibly the subtlest build of any folk rock song to feature a xylophone solo and is followed unnaturally and yet obviously by The Queen’s Rebuke / The Crossing from 2009’s exceptionally heavy “The Hazards of Love”. The whole mood turns on this number as the lighting becomes dark and red, the sound is distorted and there is even a guitar solo!

From this point the brilliant synth-driven Severed introduces a suite of songs from latest album “I’ll Be Your Girl”. We All Die Young includes a necessarily tutored call and response bit of audience participation as well as an inappropriately uplifting sax solo. The band are beyond reach now, so elevated in their jubilation and commitment to giving a great performance. The grimmest tales of seduction, drowning and vengeful murder inside the belly of whale spur them on and the audience acquiesces with equal fervour.

Outside it remains an unexceptional Monday night in November but those in the dark of the Academy know it to be otherwise.

Kacey Musgraves – Clyde Auditorium

Live music, Music Review

“Born in a hurry, always late / Haven’t been early since ’88.” Could a truer opening line have been delivered? 20 minutes after she was due on stage the silhouette of Kacey Musgraves emerged behind a glow of goldenous light. With her band already positioned, distinctly indistinctive in their matching pastel suits, she set her pace with Slow Burn, the first song on her latest album Golden Hour.

The new record is mellow and even by pop-country standards and so it follows that its live incarnation, the “Oh, What A World Tour”, should be equally refined and engaging. It’s another 2 such gentle songs, Wonder Woman and Butterflies, before Musgraves visits any older material and when she does it sounds refreshed and renewed to her current mood. Keep It To Yourself leads in with a Springsteen-esque guitar tone before the pedal steel takes control and steers it into blatant country territory. More bitter than sweet, Merry Go ‘Round elicits the first big singalong of the evening and it’s hard to feel the isolated heartbreak of the song in a room full of voices. High Time is another crowd favourite and sees Musgraves stepping out of glam-mode, relinquishing her powder blue stilettos in favour of bare feet, then later some fluffy blue slides. It’s Casual Kacey time, despite the sequinned trousers and rhinestone-laden denim jacket.

On any scale a Kacey Musgraves show is certain things; honest, personal, fun. You can sense this from the flow of the songs and the onstage banter. While the music is perfectly polished, as it needs to be with a six-piece band behind her, Kacey is not above engaging with her audience in a way that makes her special among Nashville’s starlets. She feels her way between the songs as if the stage is smaller, the crowd is closer. It’s an intimacy that’s hard to pin down but it’s very real. She created the same atmosphere nearly 8 months back when she headlined the final night of C2C – Country To Country just across the way at the much larger SSE Hydro. Unlike then however, tonight she only has to play for her audience, rather than swaying a festival crowd, and she does so with much credit to her band. After taking time to introduce everyone on stage, and thanking all her crew behind the scenes, she brings the band together out front for a light-hearted rendition of Family Is Family.

Velvet Elvis sees sections of the stalls up dancing which Musgraves encourages, “This is a better party like this”.  It’s a gentle momentum to maintain with songs like Happy & Sad and the sweetly melancholic Space Cowboy but the crowd carries it on, finally arriving at the upbeat empowerment anthem Follow Your Arrow. Leaving the crowd in a jubilant state, Musgraves and band make a swift exit and remain obscured for several minutes before returning to frenzied applause.

It’s a mixed bag encore opening with the achingly delicate Rainbow before detouring into a humorous but ultimately unnecessary cover of NSYNC’s Tearin’ Up My Heart. The only redeeming aspect of the cover is that it features the support act, the very talented indie singer-songwriter Sophie Allison, aka Soccer Mommy, in a choreographed dance routine. Nevertheless, the mood is lightened sufficiently to close the night out with brilliant rainbow strip lights and a dazzling mirror ball as High Horse wraps the night in its fuzzy disco charms. In the last twinkling light before the stage fades to black Kacey Musgraves waves a sincere farewell to her adoring audience and they respond with mutual gratitude; each wants to thank the other and no-one wants to say goodbye. It’s the way every show should end.

Lord Huron – The Sage

Live music, Music Review

“We’ve always been a ghost-friendly band” quips Ben Schneider. “It’s good to see they’re out tonight especially in the upper levels. They’re going fucking nuts up there by the way” he jokes while he demonstrates an exaggerated style of dad-dancing. It might be a surprise to UK fans of Lord Huron to find the band booked into such an extravagant venue as Sage One in the beautiful Gateshead complex but by the end of their spirited performance there could be no doubting, this is a band who belong on the big stages.

Other venues on this leg of the Vide Noir tour have been as varied as any the band has ever played; from a night at London’s famous Roundhouse to the obscure Sheffield nightclub, Plug the night before their appearance in the north-east. Schneider points out that they’ve never played on this side of the river before and it seems by the crowd’s response that they’ve also travelled from outside the local area. This is the second round of touring in the UK for Lord Huron this year and they’ve made certain to cover new territory once again, bypassing Manchester in favour of Liverpool, and leaving out Scotland, Ireland and Wales altogether. It’s perhaps unsurprising then to find rows of empty seats in such a grand concert hall, for a band who typically fly under the mainstream radar, however this void in no way diminishes the band’s performance. The energy radiating from the stage throughout their set is just enough to reach the souls at the very back of the hall without black-braining them in a cacophony of distorted guitars, storming bass, luscious harmonies, turbulent percussion and eerie theramin. All these sounds exist within the space but never is one found wandering aimlessly.

The set is heavy on tracks from the latest release, “Vide Noir”, which sees the band experimenting a bit more with the dark side of studio magic. There are times, before the band first emerges on stage and at occasional intervals throughout, where a mysterious voice urges listeners to “follow the emerald star” while a jazzy lounge tune grooves in the background. These mellow moments are offset by Schneider’s resonant vocals and Miguel Briseño’s pulsing bass. Opening with the buoyant but chorus-less teaser Never Ever, the band lay their intentions bare: We came to rock! The feeling is mutual, at least on the floor where punters are bouncing around, fists pounding the stratosphere in attempts to reach a heightened state of elation.

The World Ender is a dark and brooding tale that brings everyone crashing back to barren earth, unsure how they arrived and curious to see what fates await. Meet Me in the Woods continues their journey into the unknown before emerging through the black magic of Secret of Life and the character study of a chance meeting with an undead World Ender in Dead Man’s Hand. Schneider’s hair refuses to be contained beneath his fetching fedora and the hat meets the ground at regular intervals as the band lift off on more raucous songs like Back From The Edge and Ancient Names, Pts. 1 & 2. There are also times when Schneider removes his headwear for romantic effect as on the crooners Wait By The River and When The Night Is Over. There’s a sonic theme to these songs on the record that is well spaced in the live set, always keeping the crowd in anticipation of their next wayward turn.

The echo of an owl, a distant thunderstorm and crackling campfire lead into a string of crowd favourites from the band’s debut LP, 2012’s “Lonesome Dreams”. Ends of the Earth, Ghost on the Shore and She Lit A Fire instantly transport devoted listeners back the band’s earlier explorations while providing an atmospheric shift in the tone of the evening. It’s subtle but cleverly crafted. Moonbeam and Hurricane stir up the crowd with additional guitarist Brandon Walters and keyboardist Misty Boyce having their own dance-off either side of drummer Mark Barry. It’s a fun set and the audience can’t help but catch the vibe too.

Between the pulsating green lights that silhouette the band on the Ancient Names twin-set there’s a romantic interlude from “Strange Trails” in the form of La Belle Fleur Sauvage and Fool For Love which sees Schneider throwing flowers into the audience before accepting certain death in a bar fight over the object of his affection. It’s the kind of dramatic contrast fans have come to expect from the last two albums and it’s well received by the audience, by now hustling to keep up with the twists and turns of the night. Way Out There takes them gently by the heart and leads them through the dark spectral landscape. The set winds into its natural close with Time to Run. The energetic acoustic anthem is embellished with flourishes of Tom Renaud’s gloriously crystalline guitar, playing out the main set before another haunting voiceover recites a poem composed explicitly for the Vide Noir shows featuring, among its lines, every song title from the album. It’s weird but it fills the void left by the band’s departure.

There’s no need for an awkward, forced encore – not that the crowd weren’t demanding one anyway – and when the band re-emerge from the darkened recesses at the edge of the stage they bring yet a new energy with immortal hit The Night We Met. The song has been popularised by its use in various TV drama series but the core fans knew it as the bittersweet album closer to “Strange Trails” over 3 years ago. On this occasion there’s a hopeful sense that Lord Huron will return to UK theatres of this scale in the not too distant future, to wow new audiences with their unique stories, curious characters and vivid soundscapes. Nothing could exemplify this more than the jubilant finale, The Stranger. Delighting their audience with arguably their most successful single and following it up with one of their least known tracks is the kind of stunt a band like Lord Huron can pull off in any setting, such is their devoted listenership and the inspiring diversity of their catalogue.

Rumours of another turn through Europe next year have left fans hanging on the edge of the known realm, aching to see what mysterious encounters lay beyond.

Villagers – The Garage

Live music, Music Review

On Villagers’ most recent album The Art of Pretending to Swim Conor O’Brien has got his groove back, and then some. The nifty studio magic that gained his band a raft of followers through their first two releases has been distilled by a master craftsman, O’Brien himself, and blended with the raw potency of 2015’s Ivor Novello-winning Darling Arithmetic. The result is a heady concoction; harmonically vibrant and playful with subtly textured rhythms, and laced with O’Brien’s always intriguing lyricism. It tempers listeners with bold satire and heartfelt musings on where we place our faith – in love, humanity, religion, ourselves – all served over luscious layers of acoustic guitar, piano, strings, brass and occasionally low-key EDM.

Bringing an album of this sonic complexity into a live setting presents those same old challenges from the earlier recordings but O’Brien has assembled a fine musical collective to support his endeavour, most of whom toured Darling Arithmetic and later crafted the live recording Where Have You Been All My Life. He also has a breathtaking opener for this run of shows in Billie Marten, whose heart-on-sleeve songwriting and bare-bones delivery softens and diffuses any pre-gig tension, melting anxiety whilst gently building anticipation for the main event. A kind of Julia Jacklin wit by way of Lucy Rose delivery. Poignant and ethereal. Also she brought cake – lemon drizzle – as a sort of apology for having not brought any merchandise “because I’m a terrible person”. She is not terrible; nor is her cake, nor her performance. All are quantifiably sweet.

Villagers’ arrival on stage is met with an almost stupefied enthusiasm, as if the crowd are unable to fully grasp their own excitement. It’s been over two and half years since the band last played in Scotland. A heightened sense of expectation is inevitable. Breaking through that energy, the band lay down four new songs to open the show; Sweet Saviour and Again wind the new sounds out slowly, growing through O’Brien’s impeccable finger-picking before blossoming with pulsing piano and swirling synth. The jovial, swinging melody of Fool defies its bleak message and sees the audience bopping along unassumingly, while the Moby-esque Love Came With All That It Brings recounts a tragic tale over a hip-hop backing track, held aloft by flugelhorn and cornet. It also features the gentlest delivery of “motherf**ker” you could ever imagine as O’Brien’s lips conjure all the venom that melody will allow (consider Beck’s Asshole but more tender).

A concerted look between O’Brien and pianist Mali Llywelyn cues the flourish that begins I Saw The Dead and rouses the crowd further – they could hardly be more excited about hearing an old favourite. Another four songs from the new album follow; Hold Me Down, more or less the only quiet moment of the set, draws breath and displays a calmness within the band. There’s joy and playfulness apparent in their performance, but also control, restraint, focus. The weight of expression in O’Brien’s voice is offset by the intuitive spontaneity of the musicians around him. This only becomes more enlightened as the set continues; the R&B-infused lead single A Trick of the Light matches O’Brien’s distinctive annunciation with Danny Snow’s emphatically funky bass line.

“This is a groovy number; your hips better be shaking. It’s about procrastination.” O’Brien introduces one of his most soulful compositions to date, Long Time Waiting. He’s not lying, it definitely has a feel-good vibe, uplifting yet meditative, and catchy as all get-out. The song builds gradually with an irrepressible, boisterous vitality, flowing naturally into the thumping Real Go-Getter. Marcus Hamblett’s jubilant smirk throughout is indicative of the fun had in crafting these songs, as much as in delivering them with sonic precision. His role at this particular moment comprises two critical sounds that shape the whole tone of the song and he’s taking it very seriously…whilst smiling.

The back end of the set sees a few “hits” pulled from the catalogue; the iconic Becoming A Jackal is still one of the most interesting pop songs to emerge in the last decade and here it assumes a jazzier identity thanks to Gwion Llewelyn’s creative drumming that leads instinctively into the moody, stirring Memoir. Perhaps it moves a little too swiftly as O’Brien loses his words after the first verse and calls the band to stop. Running lyrics between the audience and the band over the longest 20 seconds he resumes, then forgets again on the next verse but improvises. This only lightens the atmosphere further with a splash of endearing humility and O’Brien confidently progresses to the end with the captivating Hot Scary Summer and album closer, an epic ode to the work of Ada Lovelace, simply titled Ada. The latter swells, spirals and cascades well over the five-minute mark and leaves the crowd hanging on to the final note before erupting with applause and cries for more.

A brief absence from the stage punctuates the set before a swift encore caps the night off with the crowd singing in unison. Intimate anthem Courage sounds authentically country in this setting with O’Brien’s delicate strumming so precise you can hear every string resonate beneath the exquisite range of his dreamy vocal, now at peak mellifluence. Squeals of relief and delight meet the opening of dichotomous favourite Nothing Arrived as the band deliver a buoyant rendition, charming yet raucous, and always bittersweet. It’s a fitting close to the night, where all is not but exactly what it seems. Conor O’Brien has never looked so resolutely content and confident on stage as he does right now, and while showcasing these new songs, with this band, he very much deserves to.

John Butler Trio – Barrowland Ballroom

Live music, Music Review

John Butler Trio’s latest album Home is an introspective detour on the Australian songwriter’s journey. While many artists start off their careers drawing on their internal struggles and gradually looking outwards John Butler, whilst being outspoken on public matters of social, political and environmental significance, has kept his innermost self quite private. The new album, released on September 28th, touches on subjects close to the songwriter’s heart including the joyous miracle of finding his soulmate in the middle of nowhere, as well as his developing battle with anxiety. Sonically and thematically it’s a substantial step away from his previous work, showcasing a more polished pop aesthetic with synths, drum machines and especially charming melodies. Some critics may have been disappointed but it is undeniably refreshing to hear a new development in any artist’s catalogue, particularly one with as many influences as John Butler has synthesised in the last 20-odd years of his career.

Within two weeks of the album’s release the band opened their European tour at Glasgow’s Barrowlands. Fellow Australian-Samoan singer, songwriter and multi-instrumentalist Bobby Alu set the show up beautifully in support, with his laidback ukulele tunes and warm, soulful voice. He was well received by the early crowd who seemed to grow in size, evermore endeared to the gentle sway of his songs whether in English or Samoan, there was a very natural enjoyment to his being on stage with some people even calling for more when he took his leave.

It seems ominous then that when John Butler reached the stage he was nervous, however the crowd were elated and generous in response and the music flowed easily. Jaunty Tahitian Blue and the heavier Wade In The Water introduced the new material before Butler let slide on Betterman. “I don’t know why I’m so nervous tonight” he declared as he positioned his banjo before flawlessly fingerpicking his way into Better Than. Perhaps debuting so many new songs in one live session had him on edge but it hardly showed, only his minimal conversation suggested he had things on his mind. Eight out of the eighteen songs on the setlist came from Home but there were plenty of crowd-pleasers in the mix too. The earthy, slow blues jam Blame It On Me had the crowd so mesmerised that by the time the solo had wrapped up and every possible kind of effect had been wrung from the guitar, there was a delayed eruption of applause. Pickapart brought the audience out of their daze and saw limbs flying as bodies failed to resist its funky bass line. A fifteen minute rendition of Ocean was delivered solo with as much tenderness and passion as an orchestra could summon; an epic guitar odyssey in open C, filling the night with the simplest of dazzling green lights. It’s the highlight of any John Butler performance. Expanded to a five-piece for this tour (billed as John Butler TRIO+) the band switched instruments regularly and made good use of the extra hands particularly on the title track Home which featured four of the five drumming in unison over dark synth and bass. Funky Tonight left the crowd begging for more and the band obliged with a two song encore; between the resonant, swirling acoustic guitar and communal drumming circle, latest album closer We Want More displayed its tribal colours, before Butler invited the crowd to sing their hearts out with him on the rootsy hit Zebra. “It doesn’t have to be pretty, it just has to be loud” he encouraged. That it certainly was, albeit in a very relaxed, casual and organic kind of way. You wouldn’t expect more from a John Butler Trio audience really, just an abundance of peace and love, and that was exactly how the night ended.

Iron & Wine – O2 Academy Glasgow

Live music, Music Review

If so-called “Monday Brain” is having its way with Sam Beam tonight then blessed is anyone who sees him play on any other night of the week. Not only is his performance quite spellbinding but his stage presence is also warm, generous and endearing. Glasgow’s O2 Academy is all dressed up for the occasion as patrons are treated to an intimate, seated concert in the historic theatre. The distant ceiling is draped in white while the stage sits beneath a collection of puffy white clouds, creating a rather dream-like atmosphere, as if floating in a hot-air balloon.

Dreaminess and drama is first provided by Scotland’s own Kathryn Joseph. Expert in casting her beautiful dark magic over any audience with little more than her piano and voice, tonight she is accompanied by her musical partner and wizard of other noises, Marcus Mackay. Together they envelop the audience in eerie melodies and subtly beguiling rhythms. The title track from forthcoming release From When I Wake The Want Is introduces Joseph’s iconic vocal over gentle piano, while The Mouth and The Weary immediately heighten tensions in the room with thunderous piano and haunting lyrics. The highlight of her performance comes in the final new song, the gorgeous and heart-breaking Tell My Lover which renders the audience momentarily stunned before erupting with earnest applause. Ever gracious and humble, the duo share a grateful embrace as they depart the stage.

Beneath the clouds appears Iron and Wine, a five-piece ensemble vehicle for the music of singer-songwriter Sam Beam. It’s been a few years since Beam performed under this name in Scotland but he’s welcomed almost like family by his adoring audience. Despite almost stumbling into position he appears relaxed and comfortable as he starts into mellow opener The Trapeze Swinger. Performing with him are Beth Goodfellow and Eliza Hardy-Jones on percussion and keys respectively, Sebastian Steinberg on electric and double bass, and Teddy Rankin-Parker on cello, all providing vocals throughout the show. This combination of instruments and voices is a picturesque setting for Beam’s songs; his eloquent storytelling navigates listeners through yearning and regret, joy and passion, and so many feelings in between. The music alone is mesmerising, as in On Your Wings and Lion’s Mane which Beam complains has “so many chords”. He fumbles his fingers over his guitar and afterwards offers “…apologies if you’ve been waiting a long time to hear me play that song.” He appears to be enjoying himself though, laughing with Steinberg while the rest of the band take a break, and jesting with the hushed audience, saying “It’s hard to concentrate when y’all are being so respectful and quiet.”

His playing alternates between the most delicate and fluid finger-picking and some instinctively emphatic strumming. Several songs have been reworked to match the atmosphere of last year’s Beast Epic, the latest Iron and Wine release that this tour is showcasing. The performance overall is quite enchanting with some very pretty moments pulled from all previous albums. Arms of a Thief is dark and swampy with classical overtones; Muddy Hymnal features a honky piano solo retaining its true alt-folk character and Fever Dream is so magnificently restrained that even the cello sounds breathy. The show climaxes with the spell-binding beauty of House By The Sea with North African-influenced drumming and pseudo-Arabic modes, the room feels like it should be twirling towards ecstasy. Beam conducts the final strain of About A Bruise and when all five voices combine they jolt the audience into full consciousness. The entire audience is on their feet within a split second demanding an encore. The band oblige after a minute or so of rapturous applause, leaving the crowd still a little dazed and awestruck by all that they’ve just witnessed. Tonight will be remembered happily, fondly, as in a dream.

Haim – O2 Academy Glasgow

Live music, Music Review

“I wore a f**king prom dress for this show” declares bassist and eldest sibling Este Haim. It’s a steamy Sunday night in Glasgow and the Californian sisters are “feeling the girl power”. They’re here for a dance party; the soundtrack draws beats and harmonies from Destiny’s Child-era R&B, with shredding guitars and synths lifted from a Kenny Loggins theme tune. 2500 people are in for a good time.

Support on this leg of the Sister Sister Sister Tour comes in the form of pop songstress Maggie Rogers. With a swag of cleverly crafted songs, her catchy melodies, hypnotic rhythms and intimate lyrics pull the politely enthusiastic audience under her spell as she bounds and twirls across the hazy stage. Rogers appears to enjoy her band as much as the crowd does; understandably so, they’re a tight unit and the backing vocals especially lift her delivery, particularly on latest single Fallingwater. In the past Haim have had the opportunity to open for some incredibly talented acts and it’s heartening to see them now offering their audience to a future star in Maggie Rogers. She sets the tone beautifully for what is to follow.

The members of Haim have nothing to prove, they simply own the room from the moment they enter it. Their 2013 debut LP Days Are Gone landed like a greatest hits compilation, every song strong enough to be a chart success. The arrival of sophomore release Something To Tell You last year brought another batch of top shelf pop rock anthems, infused with more funk, soul and new wave sounds, and growing their fanbase to the volume of a sold-out UK theatre tour.

Opening with an impressive drumming sequence as each member of the band takes their position on stage, they roll seamlessly from old to new songs and back and the crowds responds with equal – 100% – excitement to every song. It’s so slick, like band and audience have scripted the whole thing together to create a perfectly balanced high. The songs keep coming and the fans keep dancing, and singing. There’s a whole lot of singing. When there’s chat on stage there’s lots of chat, like when Alana gets to tell the story behind writing lead single Want You Back from the new album and it descends into sibling rivalry. It’s important that each band member has their chance to speak although when Danielle is put on the spot she’s left speechless by the Glaswegian reception. There is so much love between this band and their audience.

The visual is really on point. The groovy bassline of You Never Knew is paired with a subtle Tequila Sunrise tinted backdrop and the lush harmonies are framed in golden flashing lights. When the sisters put their instruments aside in Walking Away there’s a glorious moment of choreography. Sure, Este’s so-called prom dress, in frilly pink satin, might be susceptible to the occasional wardrobe malfunction but overall the look is classy. Nothing about their presentation is over the top and that makes their incredible musicality even more apparent. Reduced to a 3-piece for title track Something To Tell You, Danielle switches blistering guitar solos for drum duties with enviable skill. The more simplistic instrumentation also showcases their superb vocal harmonies.

Wrapping up the set with back-to-back hits Forever and The Wire even has the bar staff dancing and ensures the crowd are adequately jived to demand an encore. Two thunderous rounds of stomping pass through the balcony before the band return with reciprocal energy still to burn. In a moment Alana embarks on a solo tour of the barrier and the party concludes as it was begun, with a 3-way drumming spectacular. From a performance like this there’s no questioning why they’ve won the NME Awards Best International Band twice in the last 5 years.

Gengahr – King Tut’s

Live music, Music Review

On a dreary Monday night in April Gengahr bring warmth and vibrancy to King Tut’s and, with two equally effervescent bands playing before them, the intimate crowd is treated to a steamy night on the dancefloor.

It’s not customary to talk up support bands but tonight is one of those rare nights of extraordinary value and every act is out to make the best impression. Indigo Husk bound onto the stage like children to a waterslide. Dressed as a bunch of early 90s skater punks they masquerade behind an air of casual inadequacy and slacker cool. But they’re actually brilliant! Energetic and technically proficient with a swag of clever upbeat tunes, delivered with an irresistible vigour and enthusiasm.

Low Island are a more politely polished but no less enjoyable outfit. Tidy drums and guitars layer over dense bass lines. At times it becomes a little synth-heavy but they really know how to work it, countering with passive vocal melodies that are almost too ambient to be lyrical. Lead singer Carlos Posada possess an effortless falsetto of enviable clarity that sparkles and illuminates their lush sonic landscape gently like a fine crescent moon. Hypnotic single The Whole World Tucked Away leads into Holding It Down effectively closing out the set just as it gets going.

Showing appreciation with all the energy they can muster this late on a Monday night, the crowd welcomes Gengahr like old friends. Both band and audience are in the groove right from the outset, which is never fully indie rock nor disco, but stands somewhere eternally sunny between the two. Bright, jangly guitars fall side by side with slick melodies and lyrics, at once delicate and beautiful as on the unfortunately titled Fill My Gums With Blood, becoming progressively more harsh and distorted. It’s a nice performance but something is missing; as the applause ends quickly after each song there’s an awkward pause as if some interaction is expected but never materialises. The songs alone are delightful and mostly joyous but the lack of banter renders the set a bit flat by the end of the evening. Even still, no-one can dispute the quality of the music and the band’s passion for playing it. Where Wildness Grows is simply stunning and would have been a satisfactory finale, had the band not wanted to play an encore. Instead the rough and raucous Carrion sends punters on their way into the night and back to the less inspiring reality of cool, spring rain.

Is This How You Love?

Heroine

I’ll Be Waiting

Bathed In Light

Before Sunrise

Embers

Dark Star

Pull Over (Now)

Mallory

Burning Air

Fill My Gums With Blood

She’s A Witch

Where Wildness  Grows

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Carrion