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);

 

Honourable Mentions 2013

As well as artists I already had plunged head first into the murks of fandom for there were several albums last year that I didn’t stay up all night in queasy anticipation for but when I came across them definitely enriched my life. Some are artists I knew of before, others are ones I’ve only discovered quite recently. All of them firmly deserve a place in 2013’s Honourable Mentions.

The Amity Affliction-Chasing Ghosts

I had come to the conclusion that I was only really into metalcore when I was younger. You know, that stuff with the brutally screamed vocals that blended into soaring anthemic choruses you could actually sing along with. Atreyu basically (but weren’t Atreyu brilliant?). I thought I’d probably grown out of it and the stuff I still listen to I did out of a combination of time-and-place nostalgia and having gotten used to it. Then I heard The Amity Affliction. They are very like Atreyu (only Australian) and I loved them immediately. The album follows the tried and tested formula of two styles of vocals mixing together over heavy guitars. In all fairness not big on originality, but I can’t say I minded. I’m quite pleased this kind of stuff is back in my life.

Stand out tracks: Chasing Ghosts, Life Underground, Open Letter

Deaf Havana-Fools and Worthless Liars

 

Hot on the heels of rediscovering my love of screamo I got into these guy’s first album, Meet Me Halfway at Least. I knew they’d gone down from two vocalists to one for their second effort and therefore had lost their scream, but I thought I’d give it a go. Turns out I actually preferred it. This album struck a chord with me as a lot of the songs are about being in your mid-twenties and wondering where it all went wrong (oh hai internal monologue). At times it drifts towards pretension and you sometimes get the feeling they’re trying to reach into the realms of jaded men of the world. Their age means it doesn’t always ring true but lyrically there was more than enough here to satisfy me.

Stand out tracks: The Past Six Years, Mostly I’m a Bore

Editors-The Weight of Your Love

 

I went through a phase in my first year of uni of being very much into the Editors. Then, as is oft the way, I got new music and started listening to them less and less. I didn’t feel bereft, but when I heard this I came to the conclusion immediately this was an oversight. It’s easy to believe that I would love this album no matter what with its low vocals, guitars and lovelorn lyrics but when it’s done this well it doesn’t really matter. Not bad for a CD I bought as the second half of a two for £15 offer with Bastille’s Bad Blood (which is nowhere near as good by the way).

Stand out tracks: Sugar, What is This Thing Called Love?, Formaldehyde.

The Gaslight Anthem-Handwritten and The ’59 Sound

 

Yeah, I know, two albums from the same band, but hear me out. My brother recommended them to me (he’s usually only good for dance music) and although I’d never really been into stuff like this I was hooked almost immediately. Having brought their most recent album (Handwritten) I then almost immediately bought the one before (The ’59 Sound) and neither left me disappointed. At first listen they could just be another guitar brandishing, macho, Springsteen tribute act, but lyrically they’re fantastic storytellers. They evoke a wonderful, downbeat Americana that’s almost folky and have everything from love songs to lamenting a lost youth to seeking out an absent father. OK, so they are very Springsteen. They also have a song that’s mentions my name and takes its title from one of my favourite films; Here’s Looking At You Kid and the line ‘you can tell Ana if she asks why that a thief stole my heart while she was making up her mind.’ Boom.

 

Stand out tracks; Handwritten-Handwritten, Biloxi Parish, Mae. The ’59 Sound-Great Expectations, Even Cowgirls Get the Blues, Here’s Looking at You Kid.       

Kittie-I’ve Failed You

 

Continuing the themes this year of metal and bands I forgot about then made myself very happy by re-discovering I give you Kittie’s latest album. It had been literally years since I’d heard anything by them and although it’s still definitely the same band they seem to have grown lot more confidant in their style. They’re prepared to mellow out a bit, have songs that are a bit longer and throw some more proggy, experimental elements in there. At its core however it’s still brutal guitars and their fabulous vocalist alternating between her distinctive pleading and gravelly scream. And I wouldn’t have it any other way.

Stand out Tracks: I’ve Failed You, What Have I Done?, Never Come Home.

 

The Highly Anticipated Albums of 2013

2013 was a pretty good year for me and music. Five (yes, five!) of my favourite bands either released new albums or, because I’m not very good at keeping up with music news and I often miss these things, I finally got round to getting an album they released at the end of 2012.

Either way I was pretty stoked. So, rather than do one Best Albums of 2013 list I thought I’d do two. One for the ones I was probably going to love due to blind devotion to the artist and another one of surprising pleasures.

Anyway without further ado I give you the albums I waited for, I counted down for and got excited about for months in advance.

The Birthday Massacre-Hide and Seek

 

I'm not gonna lie, the Birthday Massacre are probably my favourite band at the moment. They don’t have a weak album in my view (although the two before this one, Walking With Strangers and Pins and Needles were very similar sounding. But in my view you can never have too much of a good thing). This one is a bit simpler than the other recent ones. The songs are shorter and less grandiose but the trade off is they often have a bewitching calm about them. They also use a wider range of vocal techniques similar to their first album Violet which also helps mark it as different. The choruses are still rousing and anthemic though so it's good if you need a bit of get-up-and-go. One of the things I love about this band is that every song is so undeniably them. They have such a distinctive sound and even though they've gone for something a bit different this time round it's still so Birthday Massacre, and I adore it.

Stand out tracks: Leaving Tonight, Calling, In This Moment

HIM-Tears on Tape

 

 

Like the Birthday Massacre this is a band I’ve loved for a very long time, which is why their last album (2010’s Screamworks) being so disappointing was a hard thing for me to accept. I thought they might have lost their spark, but then they brought this out. It's brilliant. It’s dark and moody and much heavier than Screamworks. It reminds me of Love Metal, which is one of my favourite albums of all time, and I generally got the feeling of a band that tried branching out then went back to what they know. I was also lucky enough to see them play live in October and they were easily the best I’ve ever seen them. I’m now hoping that this is a return to form and they’ve got a few more albums like this left in them. Challenge accepted, lads?

Stand out tracks: All Lips Go Blue, I Will Be the End of You, Into The Night.

The National-Trouble Will Find Me

 

Seriously though, just how fucking good are The National? I am in awe of them. Every note and every word on this album works perfectly. It’s not really music you can have on in the background though. It’s so pervasive and evocative you have to stop and listen to it. I can picture the story in every song so easily and I sometimes still get goosebumps when I listen to it (I've had it since May). I think this band is a good example of being more than the sum of their parts. Every bit is good but when put together it creates something magnificent. I can’t exactly put my finger on how they get the reactions out of me they do, but I hope they never stop.

Stand out tracks; I Should Live in Salt, Fireproof, Sea of Love, Pink Rabbits, Hard to Find.

White Lies-Big TV

In honesty of all the albums on this list this is the one that disappointed me. I adore White Lies’ first two albums so was pretty psyched for this one, and it starts really well. The first two tracks are stonking, then it just started…drifting. It’s not an awful album by any means I just wanted it to be a bit bigger, a bit more self indulgent and bit more experimental. I wanted to love every song the way I did with Ritual (well, except Turn The Bells. I’m still not sure what’s going on there) so it’s probably my own fault for building it up too much. Sigh.

Stand out tracks: Big TV, There Goes Our Love Again, Tricky To Love.

AFI-Burials

 

AFI have gotten a lot of flack for how their sound has changed over the years. I’ve been a pretty avid fan of theirs for the last decade and I can understand where those criticisms have come from. The band that made Sing The Sorrow doesn’t sound much like the band that made this album. But I stand by them. Every record they’ve made has its own merits and Burials is no exception. It’s a very dramatic album and I like how they’ve put things together and where they’ve tried something new, even if I’m not always convinced by the results. And, as always, they appeased my angsty, melodramatic side perfectly so I still love them unconditionally.

Stand out tracks: I Hope You Suffer, A Deep Slow Panic, The Conductor.