By Arianna Balsamo, Music Subeditor
Promoting their recent album, Forever Howlong, the band has undoubtedly assumed a different kind of presence since their last studio album, Ants From Up There, and their last recorded live performance, Live at Bush Hall following the departure of Isaac Wood - once such a core part of their sound. Despite the initial scepticism surrounding their return and vocal rearrangements, I can confidently say that BCNR have far from withered under the weight of his absence.
Seeing them live for the very first time, the band’s sound is even more impressive than on the studio versions. A little while after a one of a kind performance from the opening act, The New Eves, a jaunty, orchestral ensemble of pianos and flutes immediately fills the room as 'Two Horses' begins to play.
The voices of the three female members of Black Country, New Road are, in my opinion, best showcased in 'Mary' and 'Nancy Takes the Night,' where they can only be described as being hauntingly beautiful, though even this seems a severe understatement.
Conveniently stood on the right side of the hall and thankful for a lack of height and shovers in the first three rows, I was closest to May Kershaw (vocals, keyboard, accordion) and Lewis Evans (saxophone, flute), catching the fleeting looks passed between them - there was such a clear sense that they were genuinely enjoying themselves and the music they had created.
This sense was readily confirmed by one of the band members (forgive my forgetfulness, a little red wine is the recommended way to see BCNR) admitting that this was their favourite show so far, which is of course expected as the Bristol crowd never disappoints.
The set, however, was not strictly bound to their new material. For me, the most poignant moment was the realisation that they had started playing 'Turbines/Pigs' from Live at Bush Hall. From what I could see and hear through my consistent sobs and feeling particularly piggish myself at this point, the entire hall fell into complete utter silence, and all I could focus on was Charlie Wayne on drums; possibly the most violently cathartic performance I have ever witnessed, and what I would do to see it again.
Two more songs that featured were 'Dancers' from Bush Hall, and an epic rendition of 'The Ballad of El Goodo' by Big Star which the friends I was with boldly claimed to usurp the original version.
As the show came to a close, the band reiterated their support for Palestine and urged to use The New Eve's QR code to donate to the Sameer Project, giving aid to displaced families in Gaza. At least one Palestinian flag has been visible on stage at every gig.
The final track played was 'Happy Birthday,' my absolute favourite on the album. It's the kind of song that makes you come to realise how much talent oozes from the fingertips of the sextet when you hear the variation of instruments they are able to play over the course of an hour and a half, and how they are all layered together so seamlessly.
As the crowd filtered out with the familiar post-concert buzz, I was adamant on the fact that these are possibly some of the best musicians of our time - if you haven’t gone to see them yet, go get your ticket!
Featured Image: Arianna BalsamoIs there any better way to begin the term?
