Touching upon feelings of love, loss and isolation, whilst simultaneously offering a lighter shade to the almost stark, seasonal colours of autumnal and wintry darkness, Lisa Hannigan showcased tracks from her third studio album, 'At Swim', at the Arts Club, Liverpool tonight.
Produced by Aaron Dessner, guitarist with The National, the album features some of Hannigan's best and most sentimental lyrical work and tonight's audience were treated to live performances of nine of the total eleven tracks. Hannigan also interweaved past favourites from previous albums, 'Sea Sew' and 'Passenger'.
The rust, deep gold and redness of the venue's hues, sat comfortably with the warmth and intimacy which the space evoked, making it the perfect atmosphere for a performance such as those promised by Hannigan. Weaving hope and sadness as a narrative throughout, tracks on this latest album put Hannigan's delicate and haunting vocals right at the forefront of the action, whilst her demeanour of gentle composure and humility sweetly disguise her obvious raw and forcible passion for her art. Opening with 'Little Bird' and 'Passenger', from her second album of the same name, Hannigan delivered a soft and controlled vocal performance, effectively drawing in the audience and leaving them hanging on every word, indeed every syllable.
As well as being a singer-songwriter, Hannigan is also an accomplished musician of several instruments. Tonight her accompaniments of choice were the mandolin, ukulele and melodian; some of my favourites to hear in such a low-level and perfectly acoustic setting. Her band was made up of friends on double bass, drums, keys and electric guitar by support act, Heather Woods Broderick, who's folk-rock, edgy tones wholly complemented Hannigan and made for some stunning vocal harmonies. My favourite track from the new album, 'Ora', and favourite from her debut, 'Pistachio', followed, so it would be fair to say that I was in seventh heaven. Serenading me at this celestial juncture, Hannigan proceeded with 'O Sleep' and 'A Prayer for the Dying', both heartfelt performances with equal moments of vulnerability and tender brilliance.
Hannigan divulged to the audience that her favourite film to watch whilst on the road was Robin Hood, Prince of Thieves. A random segue, but fascinating all the same. I like to imagine Hannigan getting inspiration, just as she pulls in to Tebay Services, whilst enjoying Alan Rickman's biting one-liners and wonderfully camp eccentricities. 'Fall' and 'Flowers' followed, providing harder basslines and electric guitars, whilst 'Snow' and 'Tender' placed us back down on earth with a typically gentle touch before we were submerged in the sublime 'We, the Drowned'. Hannigan speaks a great deal and clearly draws inspiration from the sea; a quality we both share. Sticking with the nautical theme, next came 'Undertow', 'Knots' and 'A Sail', before Hannigan, Woods Broderick and band member, Cormac Curran, came together to perform a Seamus Heaney poem, 'Anahorish'. This was a particularly stunning moment as the trio's vocal harmonies rang out whilst using melody to depict the clear water, winter evenings and light ice which Heaney writes about.
Hannigan finished her set with up-tempo new track, 'Barton'. After the emotional and at times spiritual journey which the audience had been put through tonight, this provided a conclusion of upbeat exultation. Hannigan's lyrical imagery and performances resonate long after the last track has been delivered. After watching her live four times to date, I think this is her most mature and settled work; an artist who has clearly found her niche and is on her way up, probably by boat.
FUTURE GIGS
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