Anna Calvi

Brudenell Social Club, Leeds, 4th February 2014

 

 

The Brudenell is a pretty small venue. I'd been there before, but never to see such a well known act and so wasn't really prepared for how small the room can feel when it's packed. It also has a really low ceiling. Maybe that had something to do with the claustrophobic feel. But it is in Hyde Park, which couldn't be more convenient for me and, it being a social club, drinks are pretty darn cheap.

 

But, to be honest, I wouldn't really have cared where we were. We could have been in the Leeds Met student's union (where the gig was originally intended to be), Wembley Arena or the Snooty Fox in Wakefield (Skankiest. Pub. Ever). I was getting to see an artist whose music I have adored for the last three years. When I went to loads of gigs (oh, how I miss those days...) I saw many acts I thought were alright but wouldn't have been disappointed if tickets had sold out before I got there. Now I hardly ever go to gigs so when I do it's for someone I really admire. And consequently get quite giddy about.

 

Anna Calvi was supported by Anna Meredith, taking the An(n)a count in that room to at least three (alternative spellings accepted). Me and t'other half had already taken our places feet from the stage so we had a good view of Ms Meredith, her cello player and her guitarist. With all the respect given to someone who is prepared to stand up and play to a crowd who are not there to see them, I wasn't really into it. They didn't seem that well prepared or put together, and most of the songs were instrumental. I think it really takes something extra to lure a crowd in when there's no words to hook your emotions onto and they didn't have it. There was also more than a bit of a whiff, with cameo roles by toy dragons, that they were trying too hard to be quirky. Although not strictly their fault, and Ms Meredith herself did spend a lot of time trying to correct it with the PA guy at the back, the sound was all over the place. But hey, my partner thought they were alright so feel free to put this down to me being over-critical.

 

After a short intercession and probably unhealthy quantities of San Pellegrino lemonade Anna Calvi and her band took to the stage. In something of a cliché I was taken aback at how small she was. I had always assumed from her photos and videos (not to mention the awesome power of her voice on record) that she would be a towering Amazonian. But no. In the flesh she appears delicate, almost doll like, in her classy vintage outfits and flawless make-up.

 

Then she started to play. I have never seen anyone play guitar like she does. All at once she was transformed into something raw and powerful. The sheer skill involved in the way she plays is astounding, but the passion is something else. That guitar was like a wild animal and she was the only one who could tame it.

 

Her voice live is almost indistinguishable to how it is on CD. No mean feat when considering how strong that voice sounds. She moved seamlessly between her intimate whispers and grand operatic choruses, her mouth snarling and her eyes closed, smearing red lipstick on the microphone. Charismatic doesn't even come close.

 

And then, because this write up wasn't already toe curlingly fangirl enough, there was the moment when she paused for breath and her blue eyes scanned the crowd to lock with mine. I know you can see almost nothing of a crowd when you're on stage and it was unlikely to be anything more than a favourable angle of her head, but that was a moment I'm unlikely to forgot. Interestingly enough I'm not the only person who felt like she'd held their gaze for a few seconds last night. Seems like that's another talent she's got down.

 

When she first came out there she almost had a sense of nervousness, as if she wasn't quite sure what we were all doing looking at her. The nerves seemed to evaporate once she got down to the serious business of playing incredible songs, but there wasn't much banter with the audience and when she did speak I was again taken aback by the small, quiet speaking voice (it was Skin from Skunk Anansie all over again). She did, however, seem to get more comfortable as the performance went on and by the time she left the stage there was a genuine smile there. I think we convinced her Leeds loves her.

 

She played all the songs I really wanted her to, Desire, Blackout, Suzanne and I, Eliza, Bleed Into Me and (the two I prayed she would) I'll Be Your Man and Love Won't Be Leaving. The live band were tight and professional and, despite having to downsize the stage, they gave it everything they had and put in a terrific performance. I also think there is something about a smaller, more out of the way, more intimate venue that lends itself to Calvi's songs. Alongside the big vocal choruses and intricate instrumental arrangements there is something sinewy and sensual about her music. She could whisper it in your ear and that was the atmosphere of the gig last night. She seduced Leeds effortlessly and this will be a very long standing love affair.

 

One Breath Album Review

 

 

 

I got the new album for Christmas, despite it coming out in October because, quite frankly, I have been the skintest I have ever been this Autumn and Winter. I was going to review it as I slowly worked through my Christmas haul (three more albums to go guys. Don't pretend like you can't wait) but then t'other half informed me that we would be going to see her live and I decided to hold of putting my thoughts down in binary until I could combine them into one Calvi-loving mega-post.

 

The result is that this isn't the thoughts of a first listen. I've probably heard the album thirty times by now. When I first listened to it all the way though my first reaction was I didn't like it as much as 2010's self-titled debut. The reason for this, having now given it some thought, is that it's a much more varied album. Many of the songs (Suddenly, Eliza, Tristan) are very similar to those on the first album, but she's also tried to branch out more. The more experimental tracks range from having sweeping string interludes to the almost punky sounding Love of My Life. It's altogether a more risky, eclectic album.

 

That's not to say she's altered her signature vocal style of intricate, skilful guitar playing. It's a clear progression that didn't take the easy route of re-creating the first record. But what I love about Calvi is still very much intact. The quietly desperate songs of love and despair and the layered, atmospheric mood she creates, seemingly effortlessly haven't gone anywhere.  

 

How do I feel about it now? I still think I love the debut more, but One Breath is a wonderful, challenging listen that I doubt will be taken off top rotation any time soon.       

UPDATE:

My gorgeous partner, Taint, is a fantastic amateur photographer and her special skill seems to be getting brilliant shots at gigs. Here are a few of the ones she took on Tuesday night.

 

 

 

 

 

 Multi-talented multi-instrumentalist Mally Harpaz rocking out on a squeeze box.

 

More shots of Anna.

 

 

 

A bit grainy but very atmospheric;

And finally a shot of Anna with an 'orange peel' cymbal (probably not the technical term);

 

The Bridge II

Normally, when reviewing TV series, it is customary to give your opinion after the first episode and so possible encourage others to watch the rest. I wasn't able to do that with The Bridge because time just got away from me and suddenly it was the middle of the week and a Saturday night crime drama seemed somewhat passe. But it was just so good I couldn't not write about it. Also, in this age of iPlayer, streaming and DVD series binges it's not as if it has gone forever.

So, my advice to you is GO AND WATCH THE BRIDGE II RIGHT NOW!!! Beg, borrow and steal just please see it. Also please ignore that little voice that kicks in whenever someone recommends something too much (we all have them). This is seriously worth it.

Ahem. Anyway, The Bridge II. There is a Bridge I but I haven't seen it (although DVD will soon be rectifying that and I'll let you know what I think of it when it has). It's a Swedish/Danish crime drama focusing on crimes that affect both countries, particularly Copenhagen and Malmö which are the cities connected by a bridge across the sea. It begins with a boat crashing into the bridge almost at half way so police departments in both cities are required to investigate. 

That's how it starts, but The Bridge has the most complex plot I've come across in a long time. Throughout the ten episodes it goes through murder, family feuds, marital infidelity, eco-terrorism, biological warfare and EU climate policy to name just a few themes. It isn't lazy viewing. You have to be paying attention or you will just get lost. It being subtitled actually helped me in this respect as things tend to go in better if I've read them. There were also so many characters that kept popping up in different connections sometimes it was helpful to have my memory jogged by them basically wearing name tags. 

It didn't suffer from being 'too complicated' though. There were never moments of blind incomprehension resulting from the writers either getting too caught up in their own cleverness or details being forgotten/shoe horned it. It was all very considered and every little clue had it's place. It must have been an incredible feat to conceptualise, let alone write. 

The writing was magnificent as well. Every episode was pacey, the dialogue (even translated into another language and read rather than heard) was good and there were no weak or seemingly pointless storylines. 

The characterisation (you've probably guessed) also worked liked a dream. The personal lives of the two central detectives, Saga Noren (Sofia Helin) and Martin Rohde (Kim Bodnia), were explored well alongside the main plot but it never became a drama about two dysfunctional cops as often happens when detectives are given complicated personal lives. Another interesting dimension was Noren being high functioning autistic (a good overview of which is in this Telegraph article). Although never overshadowing the case it provided an interesting dynamic to a lot of the on screen relationships. I also thought it was shown in a very nuanced manner without turning Noren into a caricature or victim. 

I also loved the way it was shot. I've noticed with a lot of Swedish cinema how muted the colours are and how sparse the soundtrack is and I've often found it a welcome contrast to the loud and bright techniques used in British and American films. The Bridge is especially bleak with not one single scene being shot in sunshine. But I like it. It's kind to my eyes and adds a sense of coldness that works in a crime drama. That's not to say The Bridge is overly po-faced or serious. It raised a smile several times. Noren and Rohde have some brilliant conversations that lighten the mood when needed and help make it, despite the darkness and complexity, surprisingly easy and enjoyable to watch.

In short, despite it being only the beginning of February, I feel fairly confident saying this is probably the best crime drama of 2014. 

iPlayer