Laura Veirs and The Hall of Flames @ Komedia, Brighton 15.08.10
Support: Karl Blau, Led To Sea
Laura Veirs’ latest album ‘July Flame’ was described by Colin Meloy as “The best album of 2010” and if you’ve already heard this delicate and pensive record from the unique singer-songwriter, then it’s not hard to see why.
I was lucky enough to see Laura Veirs sometime around 2006/7 (I forget!) where she was touring solo, just one woman and her guitar, and I came away feeling light-headed with joy. Consequently I had high expectations for the new tour where I would be able to hear the songs that I’ve grown to love in plump, plush sound played by the entire band.
The touring line-up consisted of Tucker Martine (Veirs’ long-time producer and ‘baby daddy’) on drums, Karl Blau on Bass/Guitar and Alex Guy on Viola, as well as Ms Veirs herself on vocal and noodling duties.
Despite the fact that at least two members of the band were touring with their young children and partners, the ensemble was kept streamlined by the fact that both Blau and Guy were the support.
First up was Karl Blau with his lo-fi one man act reminiscent of a stripped-down Bill Callahan. Some songs are vaguely catastrophic but Blau is entertaining nonetheless.
Next up is Alex Guy performing under the moniker ‘Led to Sea’, producing moving and experimental music using only her Viola, voice and a series of cleverly assembled loops. It’s not easy to use live looping well and Led to Sea does it perfectly; it’s clear that Alex Guy has a supreme understanding of euphony. Some moments here are simply breathtaking.
The expectation in the room is palpable as Veirs and her band take to the stage. Opening with a series of songs from the new record, the band seem ill-rehearsed and title track ‘July Flame’, which should have been an anthemic uplifting moment, becomes stilted, disconnected and bumbling. It left me feeling so disappointed that I was shaking my head and eyeing the fire exit.
However, about a third of the way through the set the entire thing suddenly takes off and the band settles into a good rhythm when playing older material like ‘Pink Light’ and ‘Through the Glow’. The harmonies of Veirs, Blau and Guy gracefully meld together and on the simpler, more delicate songs they become quite rousing. It’s clear that Veirs has a voice that is distinctive in tone and full-bodied.
And not all of the new material is tragically shambolic. In fact, most of it is rather good, especially ‘Carol Kaye’ (an homage to the session bassist who has played on almost every record imaginable since the 1950’s) and ‘Silo Song’ which finally gives that uplifting kick the set needed. Of particular note are the mellifluous harmonies on ‘I Can See Your Tracks’ which are pitch perfect and the song is brilliantly unadorned, so the melodies and lyrics speak for themselves. It seems logical to think that after touring with the new material for a while, the band will eventually hit their stride with it.
The set becomes harder hitting towards the end, with a great electric guitar solo by Veirs during ‘Secret Someones’ which shows the girl knows how to rock!
After two encores of older material and some funny stage banter the show is over and the audience is left feeling warm-hearted and I’m left wondering why not many people have heard of Laura Veirs. She puts on an unpretentious and moving show, she can sing very well live and she continues to produce exciting new albums. She’s the musical equivalent of a page-turner.
Words: PM
‘I Can See Your Tracks’ (from July Flame):
‘July Flame’:
Sloucher.org 