Iona Marshall
Iona elegantly dispenses any doubt that just one person can enthrall a room. On stage, she seems utterly relaxed, her banter almost nonchalant. But this belies a polished performance. A voice capable of expressing every emotion is brought to the fore with immaculate mic control. She uses loop pedal on almost every song to build layers of harmonies, both on vocals and guitar, along with percussive effects brought from just about every surface in reach. In less experienced hands, a loop pedal can mean a clichéd, badly synchronised meleé of noise. For Iona, though, it feels the most natural thing in the world, as each wave of sound folds over the listener. Her guitar playing resembles Bert Jansch at times – beautifully crafted finger-picking. Her lyrics are nothing if not evocative – “There’s flames coming out of your soul, with eyes the colour of coal…” She’s playing Tobermory on 17th September. Well worth the trip, I’d say.
Player Piano
One man. Epic. A voice soars over emphatic piano chords. Once again, the room is spellbound. But we’re not just being hit with full-bodied piano. His ‘Moog’ t-shirt signifies intent. Hefty bass mixes with idiosyncratic synth wails. It’s as full a sound as three more musicians could make. Glorious electro-soul. Then, as if any further indication of instrumental adeptness were required, he switches to guitar. A lyrical absurdity pervades the songs, spilling over into between-song banter, which is an entertainment in itself. It’s not hard to warm to this guy. On his last he is joined by Rebecca Jade, and together they sing – “No matter how hard I try, the animals take control.” And well they might. Originally from the States, Player Piano resides in London these days. Keep your eyes peeled for his next trip north. Do it. It promises not to disappoint.
The Oates Field
Harmonies like a warm blanket and bell-like fingerpicked guitar chime around the room. Every song is short and effective. None could ever be called self-indulgent, or overstaying their welcome. They rarely break the three-minute mark. Reduced like a glorious roast chicken stock, every beat, bar and chord is concentrated, and layered.
Every song is overflowing with ideas. The listener is constantly pulled in different directions as the mood, colour and tempo of songs shifts, sometimes abrubtly. This is not a set for passive enjoyment. This is a set for engaging. I get the feeling Alan Oates would rather it were this way. His involvment in various groups and projects, including AC Hum with Iona Marshall, along with solo work, points toward his being a restless mind.
That all the groups playing tonight know and like each other lends an air of bonhomie to proceedings, and good humour pervades the set. Indeed, The Oates Field boasts Iona Marhsall on bass. Player Piano is frequently name-checked via a bizarre pre-recorded loop that Alan deploys in immense amusement for himself, and the blushes of PP. In fact, there is so much going on in a disjointed fashion that occasionally the set feels more like performance art. By the end, we feel less like we’ve been to a gig; more an experience. The highlight of the set is a reflection of the humour in evidence throughout – the band give away Oats cereal bars for every CD purchase. Genius.
Tonight saw the launch of the album ‘Wild Oates’. Check out www.theoatesfield.com for more details. Awesome.
(Words by Rob Sproul-Cran)
