Goodness me this has been long in gestation. It was supposed to happen in November, then it was bumped into Celtic Connections in early February, although BM recalls her ticket being purchased back in April, so the full nine months then… quite a baby. Anna Meredith has emerging from a classical training to make this highly original hybrid album of goodness know what.
For BM this gig coincided with “very important family event” and a Phil Collins at Live Aid trek had to be undergone attend said event, then get to the CCA, then back to said event, a real bastard if you are in glad rags, (11 inch Dolce and Gabbana heels) and have to do small talk with taxi drivers – but all in the call of duty, and BM HAD to see this gig.
The hall was thankfully (and BM had a horrible vision that it might be all-seated, per bad decision for Robyn Hitchcock) all standing, sold out but still some room to move about and get to the front. Due to previously mentioned time constraints the support cannot be reviewed as BM did not clap peepers on them, sorry to whoever you were, some people spoke well of yous though.
So this gig was all about the album ‘Varmints’, Scottish Album of the Year 2016, against some strong opposition, so flipping respect due. This album has been percolating around BM’s noddle ever since first hearing it last spring, on the iPod, while at the gym, “working” (don’t ask, times are hard, whatever you have gotta do…). It has made an indelible impression. It is a landmark piece of work and every track moves BM in different directions – New Order vs Sky, PJ Harvey fighting prog rock, with added cellos. The best that BM can come up with, and this is meant in the most respectful and admiring way, is ‘Tubular Bells with Tits’, or ‘Tubular Tits’, as it were (an arresting image). Really hope that AM gets that. It is (IBHO) a combination of formality of arrangement, catchiness of tune and an unusual use of instruments, and don’t forget that although now not exactly hip, TB sold flipping millions at the time, ie it went to a far wider audience than anyone ever thought that it could, and so far this album has done too.
Behind the stage there is a big screen behind which projects the cover of the album ‘Varmints’, a kind of weird Pokemon-style graphic of an unnamed creature, or should that be Varmint?
So the band walks onstage a bit after 9pm. Meredith assumes position in front of her keyboard rig (checking switches) (although she also plays flute on some tracks and bashes her drums with venom several times) while the others get behind drums, two cellos, guitar and brass. This is an unorthodox setup and it shows in the first track “Nautilus”. This instrumental track starts with a repeated synth riff and introduces ridiculous tuba, strings and then a mighty drum pounding as it grates up and down the scale, truly original and unlike anything else heard, well in BM’s life, really. A glorious calling card, but things get even better…
The chattering synth patterns of ‘Scrimshaw’ give way to more pastoral strings but the half-beat drums are trying to move things on and this is wonderfully orchestrated, AM looking over at the band as they build things up to woozy climaxes and key-changes. Celestial! At times more recalling rave music, the bpm is crucial on several tracks, this being one of them.
But it is ‘Taken’ that really ignites tonight, with vocals from AM and others in the band, a primitive sequencer twinned with flailing guitar, the “Yeah yeah” refrain building into a real howl as bass pedals and low cello notes back it up – an ode to a “good idea” becoming a “waste of time”, we have all been there and this song almost celebrates failure, or the effort of trying. BM is at this point in pure abandon, some others in this audience also are but the usual CC crowd are mainly static, well their loss!
Next is ‘Last Rose’, which shows off AM’s amazingly pure but slightly wonky (deliberately!) vocals, singing in an almost trad Scottish voice about the end of summer, evocative and airy, sublime and truly amazing.
‘R Type’ is just the best, more chattering electronics and some incredible guitar work, not for the first time AM grabs the sticks and pounds out a second drum part with the already pulsating bangs of the drummer at the back. Mesmerising, bewildering and intense, it was after this that BM had to go and have a break, just too much, too sweaty and in danger of getting embarrassing!
So BM sat out ‘Dowager’, possibly the most formally-constructed and technically best songs, hearing the strains from outside the CCA room it sounded immense. Also missed ‘Orlok’, not on the album (there were several EPs before ‘Varmints’) and re-entered the room during ‘Honeyed Words’, an electronic treat of shifting tones and sliding notes. “Shill” was also great but it was on ‘Something Helpful’ that AM’s pop sensibility comes to the fore – she said it was “a bit Chistmassy”. BM reckons it was, possibly the closest the album gets to “relationship issues”, AM cheerfully singing about “different points of view” and “might just have to leave it here” – game over for someone!
At some point about here AM gives her “merchandise sob story” about how many unsold t-shirts she has in her flat, very witty and throughout she has been gracious in her thanks and appreciation of the at times raucous applause (from BM at least anyway).
The main set ends with ‘The Vapours’, not the post-punk act of the same name but an imagination, BM thinks, of a meltdown, maybe by a Varmint, not sure. Some lovely synth builds to an enormous drum and cello workout then with various timed pauses and further battering of said instruments – they really throw in everything here, a tour de force which really is breathtaking. At this point BM has to get back home and so leaves – the encore BM understands is AM’s cover of ‘500 Miles’ (an very unorthodox reading, soulful and a bit strange).
This band is very good indeed – Sam Wilson (drums), Jack Ross (guitar), Tom Kelly (Tuba) and twin cello players (Andrew Power and Dan Hammersley) should be very proud of themselves indeed.
A truly unforgettable gig – AM come back soon please, and play a more suited venue next time, BM missed the Hug and Pint earlier in 2016, now too small so how about ABC1, aim high!
BM salutes you for your singularity and originality.