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11/10/2004 Gillian Welch concert cements her - and BBC4's - soaring reputation
Friday's airing of an hour of extracts of the concert Gillian Welch recently recorded in St Luke's Church, London for BBC4 cemented her already sky high reputation as one of the premier musicians currently strutting the world stage. Expressive, economical writing, exquisite vocals, matching guitar picking and, not least, the sinuous harmonies and accompaniments of David Rawlings make a Welch concert a live music experience which is difficult to better, certainly in the poprock genres. Evoking the spirit of The Carter Family, the duo have successfully developed a unique artistic vision. The gig also underlined just why BBC4 has rapidly become Music for Grown-Ups' TV channel of choice. Somebody in the Freeview digital channel is doing an impressive job. Further info: www.gillianwelch.com
I'm not a massive fan of Americana, or some of its constituents, country, folk or bluegrass, but, following strong recommendations, I went to see Gillian Welch open her UK tour with a gig in Milton Keynes this week. The show was a revelation. One of the top gigs I've seen. Welch is a charismatic performer. Her vulnerable, wistful voice is the perfect vehicle for her superior writing, and she clearly has great vocal power held in reserve. And she swings - easy, natural rhythm is her trademark. Co-writer/accompanist David Rawlings provides sinuously weaving harmonies, as well as subtle, poignant acoustic lead guitar. Rawlings is a like a coiled spring: the intensity of his extended riffs hint that he could plug in the acoustic guitar and blow the house down. Welch plays acoustic rhythm, banjo, and harmonica. The most unexpected joy, on an evening filled with them, was the duo's breathlessly good improvising, especially in Rawlings's acoustic explorations, and the use of very subtle dynamics. This is top drawer, eclectic bluesy/hillbilly/folkie acoustic music pared down to its rootsy bone, with the dark secrets of pre-industrial communities never far below the surface. And, all night long, you heard deep musical resonances - Carter Family, early Dylan, Everly Brothers - and dozens more - echoed through the 130 minute set. There's unlikely to be a stronger gig in Britain in the next twelve months. If you love music, and have an open mind about the packaging, this is a must-see gig. Foreign touring must present Welch's management with a massive logistical headache - the stage set consists of three acoustic instruments, plus a tiny sowing box storing such hi-tech gizmos as spare guitar strings and plectrums. Utterly beguiled as I was by the purity and strength of the music, I wasn't taken in by the folkie "authenticity" suggested by the visual clues - notably Welch's "Okie chic" stage costume aesthetic - gauchely dressed as if by Oxfam, as if ready for a summer market day in the Yorkshire Dales of the 1930s. And Welch's Appalachian roots are shallower than they appear - didn't I read somewhere that Gillian was raised in LA, and educated in Boston? But Welch's bizarre Plain Jane stage garb is to be applauded. I'm automatically suspicious of women musos who try confuse matters by flashing their t*ts. If they want to be judged as serious musicians, I'd rather see their chops. The Stables, in Milton Keynes, is a lovely venue. A studio-type venue, with a 500 capacity, it was developed by Brit jazz veteran Johnnie Dankworth and his wife, Cleo Laine. Son Alec, upright bass player, graced Van Morrison's stage in the mid-1990s; daughter Jacqui is a rising jazz vocalist. The venue has a wonderfully eclectic programme, across the musical genres, and ranging from nostalgia acts like Tom Paxton and Lindisfarne to cult musicians like Walter Trout, highly regarded contemporary artists like Eliza Carthy and fast-rising hipsters like The Handsome Family.
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