06 October 2011 (gig)
27 October 2011
As the first truly autumnal weather of the year hits Birmingham, we walk in from the sheeting rain to Cary Brothers performing his unfortunately fitting 'Ghost Town' to a crowd of perhaps a couple of dozen. Acoustic singer/songwriters are ten-a-penny these days (that said, can anyone recall a time when they weren't?), so to get anywhere artists need to have a nous for hooking in an audience alongside the always-obligatory great songs.
Fortunately, Brothers comes equipped with both. From bringing an audience member onstage to hold down a synth pad behind 'a song about crazy types of girl' (the single-note backing supporting haunting arpeggios and a beautifully-delayed vocal) to performing his final song truly unplugged in the middle of the room to a deservedly swelling crowd and providing free download 'credit cards' at his merch stand, he is truly an acoustic troubadour for the times.
Despite what he dubs 'the Earthquake Room' playing drum 'n' bass next door, Brothers' sparse yet subtly electronically-embellished style creates an intimacy more befitting a candle-lit coffee bar, and songs like 'Some Day' and 'Blue Eyes' hold the audience in thrall, with barely a conversation in the room. To achieve such a purity in a small venue is impressive; to convey it in a space like the Academy 2 shows true potential.
The Earthquake Room is still intruding upon proceedings as Brooke Fraser takes to the stage plucking a single-note introduction from her acoustic, but is immediately drowned out by the rapturous reception for the young New Zealander. Experienced far beyond what her UK album catalogue would suggest (she has put out two records before the current début UK release 'Flags', the first of which in 2002 went eight-times platinum in her homeland), Brooke has a broad canon of material to draw from and keeps the formidable musicians who make up her band firmly on their toes.
Current single 'Betty' comes early in the set, and demonstrates Fraser's apparent live style on her first foray into Europe – in stark contrast to her support act, she is bringing arena shows to club venues. Song dynamics are emphasised by the lighting, and the well-packed audience at the front of the stage clap and sing along unbidden. Acoustic guitar and synth piano collide with occasionally tribal-style drumming and electronic loops, creating a sound which walks a precarious tightrope between studio-slick and live rawness.
At times the show topples from this tightrope – during 'Albertine' the lighting falls behind the song somewhat and diminishes its impact, and one can't help feel that the material which translates best is that with its arrangement stripped down to the bones, sometimes to the point of band members leaving the stage completely. The safety net of Brooke's charisma is always there, though; whether her apparent naivety is forced or not, she is a spirited entertainer, and few will have left the show without being charmed by her performance.
On the strength of tonight there are few to whom Brooke Fraser can be compared on the current live circuit – she has a combination of songs, production, musicians and magnetism which not many possess. How this combination is managed leaves some room for improvement; the balance of smooth-to-rough edged arrangement and slick-to-intimate presentation lurches at times uncomfortably, but the quality of the songs cannot be doubted. Would separate acoustic and full-band shows next time around be too much to ask?
Photp credit: www.fightthelight.co.uk
