Arriving at a very rainy Somerset House we are greeted with the news that sound checks are still in progress. So in common with most of the audience who have arrived thus far we shelter in the arched entrance to the venue. Eventually we are allowed into the rainy courtyard and with minimal delay the first of the supports takes the stage.
This particular artist is Eugene McGuinness. He has toured as part of Miles Kane's touring band and has clearly taken on board one or two tips from Mr Kane. Eugene and his band are very sharply dressed. Their look features slicked back 50's hair coupled with a vaguely mod style of dress. The look Eugene appears to be trying to achieve is that of a late 1950s / early 1960s heart-throb. The whole presentation is decidedly retro with Vox amps well to the fore.
The music is very influenced by the 1960s with a touch of the Mark Ronsons thrown in for good measure. One song ("Shotgun") 'borrows' the riff from Duane Eddy's "Peter Gunn", but builds upon the riff sufficiently inventively to obviate the need for lawyers to become involved. The band are very tight live, the songs are good, and they have a marketable image. They should go far.
Next up are Cold Specks who are essentially a vehicle for Al Spx, a Canadian singer/songwriter who performs under a pseudonym as her parents disapprove of her career choice (they really shouldn't...). Al has a fabulous blues voice and could sing a soup can label and inject it with meaning and emotion.
Having said that, the songs create a feeling of crafted sophistication without any of them particularly standing out. Although the musicianship on display is superb, the instrumentation adds discreet pastel shades to the songs rather than colour. I suspect that Cold Specks are probably more of an 'at home' listening experience. The songs do occasionally rouse themselves, but generally the tend to trundle along on one level. I can visualise them sound-tracking dinner parties.
This all changes with the last song (which may or may not have been called "Stink") which features a brief sax solo (the sax player has provided an impressive procession of saxes incidentally) before the song builds to an impressive crescendo. Unfortunately though it's too little too late. A cold wet crowd standing in the rain needs to be grabbed by the throat otherwise they'll drift off to the bar, which many here did.
In terms of the 'feel' of her music I have often compared Anna Calvi to Jeff Buckley. Perhaps this is a comparison which she agrees with, as before she takes the stage we are treated to a hefty chunk of Buckley's "Grace" album over the PA.
Anna takes the stage dressed as a matador as is her habit, and goes straight into album opener "Rider To The Sea". Immediately her guitar playing is simply jaw-dropping, with a fantastic display of flamenco stylings which I've never seen attempted on a Telecaster before!
During this song Anna is joined by her band, consisting of Mally Harpaz on harmonium, an enormous selection of percussion and occasional additional guitar (or as Anna gestures later: "all this"); and Daniel Maiden-Wood on drums and backing vocals. I'm not sure why, but I was expecting a rather less minimal line-up. However, the backing the two of them provide is more than adequate.
A quick fire procession of "Suzanne & I", "Blackout", "I'll Be Your Man" and "First We Kiss" soon make us forget about the rain (for which Anna apologises). Having been gob-smacked by the guitar playing, next up are the vocals. Anna's voice is rich and powerful without being strident. It is also capable of being tender too, and her whole performance oozes passion and emotion. She could be remarkable for either her singing or her guitar playing, but having both simultaneously? Well, it's just not fair!!!
Anna has a great understanding of how an electric guitar should be used and abused. Indeed, I don't recall seeing a guitarist who combines so many styles of playing within the framework of one song, and whose playing seems to be so intuitive. I certainly wasn't expecting this degree of guitar mangling! It's a while since I've seen anybody banging the body of their guitar with their fist in order to get feedback.
The main set finishes with "Love Won't Be Leaving" which features more astonishing guitar pyrotechnics. Seemingly as the intensity of the song increases, so the rain becomes heavier! That must have been a coincidence right? Anna quickly returns to the stage for encores of "The Devil" and (first single) "Jezebel".
This is one of the most amazingly good performances that I have seen for years. There are times when an artist appears to fall fully formed from the sky, yet when you see them play you know that you are witnessing the artist at the beginning of their journey. Such artists are very few and far between. Anna Calvi is such an artist, and I strongly recommend that you follow her on her journey.
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