Other Voices
Wilton's Music Hall, London
****
Last week Other Voices travelled across the Irish Sea, following on from its Derry dates earlier in the year, temporarily floating from its moorings in Dingle, and docking at Wilton’s, one of the world's oldest surviving grand music halls.
“There is music within these walls,” producer Philip King says, and over the course of the weekend, the foundations are shaken and caressed by established and emerging artists, from Dexys, who have been at work for over three decades, to Soak, who has been writing music for three years. This is partly the point of Other Voices, to create a space where such artists can flourish and feel at home, and each performer seems anxious to pay homage to this idea.
There are many memorable moments. Dexys stylishly survey northern soul (aided by brilliant trombonist Big Jim Paterson), with pop and torch songs that are rooted in Irish music, and have a theatrical sensibility that is harnessed on songs such as I' m Always Going to Love You , and diffused on the more meditative Now or Nowhere is Home . Imelda May previews new songs that her excellent band "only heard a week ago", including a moving lullaby inspired by her new baby. Derry's Little Bear provide a stellar rendering of rousing indie-rock, while fellow Derry native Soak performs her nuanced compositions, including Snow , which she wrote when she was 13.
Richmond, Virginia's Matthew E White speaks about the importance of community as he rearranges songs from his richly rewarding, hazy, jazz-inflected record Big Inner , such as One of These Days and Big Love . Just as he and his band thrill with their verve and musicality, so do Villagers and John Grant, for slightly different reasons.
Conor J O'Brien is joined by pianist Cormac Curran, revealing a further subtle emotional strand to songs from his latest record, such as Nothing Arrived , and the aching, searching In a Newfoundl and You Are Free . John Grant realises the more expansive sound of his recent record Pale Green Ghosts with a full band, showcasing songs such as the wry GMF , the strident Vietnam , and pensiv e It Doesn't Matter to Him . At one point the band break into the astonishing electronic soundscape of his record's title song, moving through house and disco to folk, after which, O'Brien comes back to collaborate on Glacier .
As his and Grant’s voices soar in defiance and celebration of difference, the song begins to resemble a prayer to personal freedom.