Belfast Music Week: Robyn G Shiels and more - The Palm House, Belfast
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Robyn G Shiels, David C Clements, Katharine Philipp, VerseChorusVerse
The Palm House, Botanic Gardens, Belfast
Wednesday 7th November
For the 50 people fortunate enough to get a ticket, this evening鈥檚 showcase in Botanic Garden鈥檚 Palm House promises to be the most bespoke gig in Belfast Music Week鈥檚 programme. We鈥檙e met at the garden gates and ushered along a dark path to the Palm House鈥檚 rear entrance. In the main atrium several rows of seats have been set out and a small performance space cleared. Built like a cathedral of intricate glass and metal work, filled with exotic plants and illuminated by Victorian lampposts, it feels more like we鈥檝e have strayed into Narnia than a public park.
Huddled in hats and scarfs the audience do their best to dodge the drops of condensation falling from the ceiling. The lights drop with a jolt and Stuart Bailie introduces us to the 鈥榤addest venue鈥 of the week.
First up is Tony Wright鈥檚 . 鈥淚鈥檝e always wanted to play here in Jurassic Park鈥 he says. Wright plays without amplification, really digging his heels into the acoustic potential of the space. 鈥淭he rain starts falling鈥 he fittingly sings. His carefully enunciated vocals and considered intensity during 鈥楬eld Myself鈥 conjure Cat Stevens but the stand out song is bold and bluesy, 鈥楤ig Red Van鈥 which he dedicates to Portstewart guitarist Henry McCullough. It allows him to let loose and something of his former ASIWYFA persona comes to the surface.
Next we have who, curled over the piano, opens with 鈥楩allen鈥. 鈥淚鈥檓 not in a talkative mood today鈥 she later tells us 鈥渂ut I drew a picture to express how I feel鈥. With any other artist this might have seemed forced but here it adds to the charm of an extraordinary evening. We鈥檙e treated to the cinematic score of 鈥淏roken to be Rebuilt鈥 and even a snippet of Antony and the Johnson鈥檚 鈥淗ope There鈥檚 Someone鈥. Philippa has a unique soaring quality to her voice which occasionally catches in the middle of her range somewhere between tentativeness and longing, the effect is enrapturing.
is next -a change to the advertised billing reminding us there鈥檚 no official headliner tonight. Shiels鈥 barely audible addresses to the audience draw a few cries of 鈥榮peak up鈥 but when singing his voice carries strongly whilst simultaneously feeling slight and confessional. The quieter moments, of which there are a few, are accompanied by the surround-sound patter of condensation. The highlight though comes in the form of a medley of Bruce Springsteen鈥檚 鈥業鈥檓 on Fire鈥 and Shiels鈥 鈥楬ello Death鈥. His songs deal with vast themes through simplistic melodies and have a brutal honesty to them.
Last up is . He gives no introductions, instead working though material showcasing precise lyrical phrasing, deft guitar playing and a hugely capable voice. Final song 鈥淥n the Border鈥 offers vocal swells reminiscent of indie act Local Natives and haunting melodies that invoke The Blue Nile鈥檚 Paul Buchanan. It is an immersive and mature sound which stands out despite the exceptional standard of tonight鈥檚 bill.
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Words: Tom Balfour
Photo: Carrie Davenport
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