Ragged Indie: 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.