Issue 84 / Dec 2017/Jan 2018

Michael Kiwanuka
+ Bedouine
Philharmonic Hall – 21/10
On a stormy and cold night such as this, the grand old Philharmonic Hall offers the type of warm ambience that you can bathe in.
Tonight, a hero of the here-and-now is about to stamp his footprint in the history of this hall of fame.
But first, the support. Azniv Korkejian, otherwise known as BEDOUINE, walks on stage to a large, growing crowd, coming across
as unassuming and humble as a newcomer at an open mic. Though, the difference is, once she starts to play and sing she can really
unravel and relax into her performance and surroundings. It has to be said that folk music is simultaneously overrated and underrated;
while it’s all too easy to string three chords together and scribble down some heartbreak clichés, some, under the tip of the proverbial
iceberg, actually render their emotional and intellectual feelings into sounds and words. Bedouine is of the latter category and displays
a captivating songwriting craft. She treats her crowd to beautiful pieces such as Solitary Daughter and One Of These Days, with those
in attendance paying detailed attention. It’s just unfortunate that she happens to be playing while people are ushering to their seats.
Next time, perhaps, she’ll be at the top of the bill.
Headliner MICHAEL KIWANUKA and his tight band stride on to the stage to a huge, raucous applause. Complete with a horn
section, backing singers and percussionist, the stage is clearly set to vault forth a generous mix of styles. And indeed, that’s exactly
what happens. From soul and funk to country, folk and even a little smidgen of Kuti-style Afro-funk, this is a band of out-and-out
players led by a man who knows the roots of this music like he knows the pace of his own breath.
Kiwanuka himself seems somewhat reserved and shy. As he talks in between tracks his words are as quiet as whispers, while his
playing and singing offer all his aggression, passion and charisma. This duality endears the crowd to him evermore, and it’s clear that
music is a tool that he uses to express the full range of his feelings and thoughts.
This is a full set, including everything from his breakthrough single Home Again to the pulsating beat-driven Black Man In A White
World. His voice, in terms of power and range, is searing and sounds as though it would fill the entire room with or without a mic.
Kiwanuka channels his rightful predecessors in Marvin Gaye, Curtis Mayfield and Otis Redding. He leaves the room having brought the
crowd up to their feet and back down again. He is adored.
It feels as though Kiwanuka is steadily growing into his place among the best in the continuing history of soul music. And – in case
it was ever in doubt – yes, soul is definitely still alive.
ROUND UP
A selection of the best of the
rest from another busy month of
live action on Merseyside.
Christopher Carr
Sylvan Esso
Harvest Sun @ Arts Club – 10/11
The tiered steps that descend towards the Arts Club stage are neatly rowed with visually excited and buoyant bodies; below them,
the bodies are wedged closer together, as they eagerly cluster towards the barrier. The stage suddenly glows with deep, vibrant
phosphorescent-like greens and purples. Silhouetted by this glow are the animated movements of Amelia Meath and the arched frame
of Nick Samson that make up SYLVAN ESSO.
The crowd immediately break into dance, as the pair burst into their set; bodies break into trance, engrossed and captured by their
snappy electronic hooks and uplifting tone. Meath contorts and snaps her limbs emphatically to the shimmers of Samson’s synth, her
carefree liberating aura orchestrating the high-spirited, ecstatic carousing reverberating throughout the room.
Their set is littered with pop bangers that evoke an elative relief from the drudgery of a dark November night – a focused intention
of their latest album What Now, of which the tones are more honeyed than the mellow, languid playfulness of their self-titled 2014
release Sylvan Esso. The strobing chorus of Die Young stirs cresting waves amongst the crowd as it crashes out from within the
song’s coy, shuffling verses. Just Dancing is propped up by a stimulating trance beat, turning the scene into an elated rave. Despite
Meath’s constant energy and animation, her voice doesn’t quiver, demonstrating an impressive stamina, as she carries the bigger notes
seamlessly. Her light, bubbly voice, that, at times reaches into a pained country singer’s twang, that may be scathing for some, seems
to sweeten the majority of the crowd.
The devoted dancefloor does not let up throughout the set, however, the pair on stage pause to pay homage to Liverpool and its
supposed parallels to Samson’s hometown in Wisconsin. To this, he toasts his can of lager with the five empty six-pack rings draped
over his wrist (an apparent hometown tradition).
To those among the crowd, who crave the deeper melancholic tones of their 2014 hit single Coffee, you may have felt brief
satisfaction and solace throughout the four minutes that the track allows; aside from that you may be disappointed by the perturbing
jubilation shown by those around you. But it’s hard to shun and spite the illuminating effect of these tunes on the crowd in attendance
tonight. Not often do you see indie audiences demonstrate such widespread, natural, independent disinhibition and free flowing unself-conscious
dance that Sylvan Esso have been able to catalyse this evening.
Jonny Winship / @jmwinship
Sylvan Esso (Darren Aston)
Hurray For The Riff Raff (Michael Kirkham / michaelkirkhamphotography.co.uk)
HURRAY FOR THE RIFF RAFF’s Alynda Segarra is that
rare thing; a magnetic performer who also has something
of substance to say. Sam Turner finds himself at Arts Club,
where the backdrop is a projection stating ‘We’re All In This
Together’, and there’s little doubt what the intent of this
slogan is. “The world is crumbling,” Segarra proclaims at one
point before imploring that we need to rebuild in a positive
manner. Songs like Rican Beach and Pa’lante are political in
nature and hark back to Segarra’s Puerta Rican heritage. The
flag of Puerto Rico is draped over the organ on stage tonight
and the country’s current plight, as well as the orange manchild
President’s pathetic reaction to it, is doubtless propelling
much of HFTRR’s energetic performance.
There is also the impression that, having toiled in the
shadows for many years, Segarra and co. are looking to make
the most of the light which this year’s The Navigator album
has shone on the band. The majority of tonight’s set is taken
from said album which has rightly received rabid critical
praise. The band move up a gear with the set’s third song
and single Hungry Ghost as Segarra sheds her guitar, prowls
the stage, leaps and dips low to the crowd to deliver the
Springsteen-esque anthem.
As part of the Bluecoat’s Captain Beefheart Weekend,
Georgia Turnbull finds herself in the presence of a true
collection of Liverpool’s finest and freakiest. Each act plays
a 15- to 20-minute set of bluesy psych freak-out, with an
additional Beefheart cover thrown in the mix. The night is
reminiscent of an improv jam session, where every weirdo
is welcomed. DAVID MCCABE’s incredible bluesy voice is
filled with Scouse craic, while PALE RIDER follow with their
Wytches-esque heavy surf psych, and Scouse favourites
PSYCHO COMEDY add a Cramps-y feel to the proceedings.
THE CUBICAL then rock up with the best cover of the night,
Tropical Hot Dog – The Cubical seem the most like Beefheart
of the bands who perform, lead singer Dan Wilson’s voice
almost identical to the Don’s.
In addition to the strong local roster, it feels incredible to
be in the presence of GARY LUCAS, ex-member of The Magic
Band – so much so that a member of the audience shouts
“this is fucking boss” after his cover of Sure ‘Nuff ‘N Yes I Do,
pretty much summing up everyone’s feeling. Even if you’re not
a massive Beefheart fan and don’t know what is a cover and
what is an original song, all of it amalgamates together into
this beautiful psychedelic noise, a perfect tribute to the king of
the freak sound.
Full reviews of all these shows can be found now at
bidolito.co.uk.
REVIEWS 47