Show of Hands @ RFH Feb 3 2013
Haunt You, the Steve Knightley song about a rejected sailor determined to take revenge from beyond the grave, is the first track on the West Country duo’s latest album, Wake the Union, and it proved a dynamic beginning to their first performance in the RFH. Cruel River swiftly followed, a strong emotional narrative that was reminiscent of Christy Moore ; a jaunty arrangement for such a moving tale of a loved one lost, this time to the watery depths of the River Dart. Anyone fortunate enough to listen to Phil Beer will already know him as a dazzling string merchant, but tonight he out- dazzled himself. There were those of us already sold on his musicianship but tonight continued a familiar pattern at SoH concerts, where new admirers will have been recruited on the night. Be warned. Once bitten, forever smitten.
Phil has an endearing habit of seeming lost in his own Celtic mist and then he picks up a bow , draws his hand across a violin and suddenly the world seems a better, brighter place. Steve Knightley's voice was once described as “vast and windswept”, gravelly even. I quite like that! His songwriting may continue to defend the English rural traditions, to highlight the human suffering of the “ordinary” man. He may successfully and eloquently prolong his attacks on society’s bad boys. For me, however, it is the quality in his voice that conveys emotion so beautifully that blows me away, as in tonight’s arrangement of Katrina and, of course, the rendition of Coming Home, of which more later.
Before we get to New Orleans, before it all gets too desolate, we get to join in for a spot of choral singing, during the anthemic Country Life. Oh I do love the way Phil plucks his violin during this! There is always something bold and bravura about his handling of the strings. Well sung, said Steve. Well sung yourself, Steve. We are handed back to Phil, bathed in an eerie blue light. The next song is a familiar and popular choice, based on a Charles Causley poem. Every time that Phil sings Innocents' Song and plays Gwithian, it gently proves that he is not just an incredible instrumentalist. He can sift atmosphere from this song and the addition of this exquisite, extended instrumental piece makes for pure listening pleasure.That's the thing. There is so much richness, of both voice and instrument, such perfect harmony and rhythm, such technical understanding, such drama and feeling in a live SoH event ..for it is an event..and I haven't even got to the significant part played by Miranda Sykes , now a pretty permanent addition to the line up. It was great to see her enjoy a higher profile and to hear her sing on most of the tracks. Her voice is pure and versatile, her harmony skills well-honed and her bass playing, particularly on the theatrical arrangement of Katrina, was a standout success.
My favourite song of the night and of the new album has to be Coming Home. Miranda made a vital contribution to this too, singing My Bonny Light Horseman like a silvery stream of sound, an inspired choice to be interwoven with Coming Home. The latter, written by Steve, movingly documents the short life of a fallen young soldier, coming home for burial. Too achingly topical, it works wonderfully in its simplicity; a stark yet beautiful song that is reminiscent of a lullaby. It is a song that could come to be regarded as a poignant requiem for all the young lives lost to war.
Towards the end of the evening, we got some more classic SoH songs from their back repertoire.. We got crowd pleasers like Cousin Jack, a perennial set choice. We got Roots. But guys! We didn't get The Dive. Nor did we hear the beautiful Bells of Canterbury. The Galway Farmer did not leave his native land en route for Cheltenham Races. And where was Mary from Dungloe! I could go on. Because you see my only criticism would be that the second half was not long enough. And judging from the audience around me, they thought the same. More! More! was their final choral chant, as the men and woman of the West Country vacated the stage, having shared it for the wonderful finale with the salty Fishermen’s Friends, those ten Port Isaac men who stole the first half of the evening with their naturalness and their superb shantying and their mildly risky jokes. SoH, as ever, gave us a rich and generous plenty and they left their audience, comprised of followers old and new, happy and enriched by the experience, but baying.
This top class sound venue suited their stylish performance and their perfectionist ideals . Management take note. Book them for a return visit, before the year ends. A hall that was comfortably full on this occasion is sure to be a sell out next time.
Ursula 0'Reilly Traynor