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.BLACK COUNTRY, NEW ROAD
@ Forum, Melbourne,
8th March 2024
(Live Review)Review by Sam Coronado
Photos (Sydney, March 7th) by Dan Turner (@dapperdanphoto)
As they walked out to the Richmond Football Club theme “Oh we’re from Tigerland”, I wondered if Londoners Black Country, New Road had made their first misstep or their last. By the time they walked off, there was no such confusion.
Perhaps just the thought that their Tigerland entrance could be the only lowlight of my night was giving myself unreasonable expectations of what was to come. Sure, this was one of the most highly-touted, critically lauded live-acts in recent times hailing from a South-London scene of similarly high acclaim. Since their 2021 debut LP For the First Time, and in fact even before this as a cult live act, they have garnered attention for their difficult-to-categorise, inspired sound that his since traversed post-punk, klezmer, art-rock, chamber-rock and folk, with that being only the smaller end of the iceberg.
Were my expectations high? Maybe, but unreasonable – I didn’t think so. But let’s not muck about for too long now. Was every song some experimental, six-piece orchestra, genre-fluid, all-time-hall-of-fame-masterpiece? I think even the most rabid superfan wouldn’t dare claim that. Will the night go down in music’s history books? Certainly not. Did Black Country, New Road show me, and everyone who packed into Melbourne’s Forum on Friday night why they were, to many, one of the most exciting live acts right now? Yes.
So as Lewis Evans (saxophone, flute, vocals) humorously apologised for, they may have played the wrong team song. But they hardly put a foot wrong after. From the very first tune, an unreleased, May Kershaw (piano, accordion, vocals) penned epic, that flies between its church-choir, multi-part vocal harmony sections, and jazz-rock breaks, to fan favourites at the close like Tyler Hyde’s (bass, guitar, vocals) “Dancers”, the London six-piece wowed, shocked and amazed.
That opener, titled “For the Cold Country”, was a standout among even the standouts, and you would be forgiven for a double take on the short description I offered of the track before. The enchanting, a capella choral vocals seemed so far away from the jazzy post-rock sections in the second half of the song, but hey, that’s Black Country, New Road for those who are new.
The vocal harmonies in some of these choral sections, and in fact on several songs, were so affecting that it felt rather strange to think of the band only two years ago that comprised of an additional member, former lead guitar and lead vocalist Isaac Wood. Once integral to their sound, noted for both his idiosyncratic songwriting and anxious delivery, Wood’s departure prior to the release of their acclaimed 2022 release Ants from Up There forced a spontaneous rejig of both lineup and setlists for a packed tour schedule. So, how have they fared without Wood, whose vocals and direction might have put Black Country, New Road on the map?
Two years since his departure, with countless festival appearances, sold out venues all around the world, and a growing stock of new material under their belt, to me it seems they are doing just fine. No, they are not the same band that seemed to take the rock world by storm with those first two albums. Yes, they are still killer, as they are now.
The current iteration shares vocal duties between four members, who each bring to their respective songs a unique lyrical and songwriting style. Georgia Ellery (violin, guitar), also of Jockstrap fame, for example, brings to her song “Horses” a breathy, dreamy vocal that is very reminiscent of her work within that art-pop, electronic duo. That is until the five other members have joined the instrumental, transforming her song into one that clearly has the Black Country, New Road DNA running throughout.
Because it was never just her song – just as with the other member’s material – it becomes all of theirs, distinctly theirs, no matter what wild inspirations and genres they each pull from. Kershaw’s brilliant “The Boy” is a three chapter, fable-like song that draws from folk; Hyde’s tearjerking “Laughing Song” is a flute-led ballad that morphs into chamber-rock theatrics; Evans’ unreleased “24/7 365 British Summertime” has a funky, piano-rock tinge to it, but while some sections would fit snugly onto an early-mid 70s Bowie record, others are decidedly more Arcade Fire.
And yet, it is all eventually Black Country, New Road, with each and every song convincing you of that fact by their final note. Part of their magic is how far the musicians are willing to take you, not just between songs but within them. See the examples above; see the unreleased “Geese” which Ellery sang on this night, which had shades of Joni Mitchell, but is far, far away by the time they go for the first multi-part harmony over some midwest-emo guitar licks.
Indeed, there is so, so much dare in just about every song they played. I can see why for some, their sound with Wood may have been more focused and, in some respects as a result, more potent. And though I have only heaped on praise, I can admit that only a select few tunes ever reach the same heights as those celebrated LPs.
Why then, is there such cause for excitement? Because in spite of the changes to personnel and sound, it is precisely these circumstances that have forced the band to embrace such an adventurous approach to the music. They draw from a wider pool of influences, their classical backgrounds feel more rooted in their music now, the instrumentation more diverse than ever. And still the setlist of twelve songs, six of which are unreleased, barely sound like works in progress.
In fact some of these were the most exciting, eclectic and spirited compositions the band have ever managed, both with Wood and without. The band are full of surprises; perhaps none as surprising as when Charlie Wayne (drums) pulled out a banjo for the string-and-guitar based “Nancy Tries to Take the Night”. Luke Mark (guitar) jumped from his axe to an acoustic alongside Hyde, who also took the vocal duties for this number. I can only imagine what this, and the other tunes they played will sound like once they find a home on a studio release.
I mentioned before about the “Windmill Scene” the band graduated from, named after Brixton’s The Windmill, which has also spawned contemporaries Squid and black midi. Even within this group, Black Country, New Road has carved out their own significant reputation, and it was easy to see why. And while poor sound may have let down black midi on their tour’s Melbourne leg in 2023, on this night the mixing made sure even the people in the back corner knew how superbly talented each of the six musicians on stage really were.
One of the last few songs, an epic titled “Turbines/Pigs”, has been a live set mainstay since Wood’s departure, but its reputation has clearly been earned. As it moves from Kershaw’s delicate, fragile voice over her tender, soft solo piano into its final climax, the band produce a wall of sound breakdown that is as dense and heavy as it is emotional and affecting. “Don’t waste your pearls on me” she sings. “I’m only a pig”
It is in these loud highs, and in the quiet lows that I found myself in awe, and in anticipation of whatever comes next for these talented Londoners. There were no fancy lights, no special effects, nothing to hide behind. Just these six, and music that can only be theirs, bursting at the seams with dare and inspiration.
Check out Dan Turner’s (@dapperdanphoto) full gallery of the Sydney event on March 7th HERE
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AMNPLIFY – DB
