Saturday 16 March 2024
Barlaston Village Hall, Stoke-on-Trent
*****
Living & Alive thrillingly brought to life
Beatrix Players recently reformed after a hiatus during which their lead singer and main songwriter Ms Amy Birks released two solo albums, In Our Souls (2022) and All That I Am and All That I Was (2020). The Players’ first album Magnified was released in 2017 and their second, Living & Alive was released last year.
This was the Players’ penultimate gig before Birks takes some time out to have a baby – she said she was suffering from ‘baby brain’ and could feel her daughter kicking. She also said she was surprisingly nervous because she was performing on home territory – some of her songs were written only half a mile from the hall. She needn’t have worried; the packed hall received her with great warmth and enthusiasm, and she and the band performed superbly.
As they had done at their recent gig at Manchester’s Band on the Wall, the Players began by performing the whole of their new album live. With a very clear and well-balanced sound mix from local engineer Shaun Beetham, every detail from the intricate arrangements for seven-piece band could be heard and savoured. There was a lovely interplay between the two guitarists, Tom Manning and Oliver Day. John Hackett on flute added gorgeously mellifluous and florid touches. Matthew Lumb provided elegant and flowing piano parts. The rhythm section of Kyle Welch on bass and Andrew Booker on drums provided a satisfyingly robust bottom end, Welch’s melodic bass lines and Booker’s lithe and inventive drumming making the sound rockier and livelier than on the record. When the band took flight in their instrumental breaks, as on ‘This is Your Life’, which felt faster than on the album, they were a joy to hear.
Birks was a charismatic leader, her wonderfully expressive voice ranging from a warm, low mezzo to a high soprano, sometimes urgent in her delivery and at other times quietly intimate – often in the same song. She was a powerful stage presence, drawing the audience in as was clear from their enthusiastic response. She also maintained a good rapport with the audience. Rather than simply shouting, ‘Barlaston, how are you doing?’ or ‘It’s great to be here, Barlaston!’ she took the trouble to introduce the songs, providing detail and context that helped to bring them to life. So we learned that ‘Purgatory’ was inspired by a horrible example of parenting that she saw from a customer in Home Bargains (she was careful to clarify that it can’t have been Homebase as they don’t sell toothpaste.) And it came as a surprise to some that ‘Obey Me’ is a ‘cheeky’ song inspired by watching 50 Shades of Gray.
Drummer Andrew Booker sometimes carried off that difficult feat of singing backing vocals whilst playing drums (like Roger Taylor of Queen). Highlight from the first set included lovely harmony vocals from Booker and both guitarists on ‘A Beautiful Lie’, and the guitar work on ‘Overflow’ – evocative lap steel guitar and a mandolin solo from Day, Manning’s intense, almost Fripp-like electric guitar solo, and Welch’s walking bass line. Lumb contributed a haunting piano motif. Another highlight was ‘Free’, written by Birks and Manning when they were teenagers together at Staffordshire University, ‘a couple of years ago’ quipped Manning. It’s a more hopeful, uplifting song than many that Birks has written. Again the two guitarists shone – Day on slide guitar; rocky guitar and a bluesy solo from Manning. This all was topped off by flamboyant flute from Hackett.
The second set consisted of five songs from the first album, when the Players were a trio. Birks informed us that ‘Never Again’ was based on the vow she made never to go to another rave in London, and also played on her love of the Brontë sisters. ‘Rushlight’ featured a heart-stopping moment of contemplation when Booker joined Birks on vocals before the full onslaught of the ensemble, playing in a less classical style than on the original album. ‘Obey Me’ had a very catchy chorus, which perhaps spared the blushes of the audience members who now knew what the song was about. The set ended with ‘What do You Say’, an encore that wasn’t one as Birks said it was always going to be the last song. As a parting flourish she did however treat us to a little operatic vocalise. Had an encore been offered, the audience would no doubt have accepted it happily – it was a privilege to hear such a talented ensemble playing in such an intimate venue.
Birks announced at the end that she hoped the audience could get over ‘the crossing’ before it closed at 10.30, or was it 11.00 pm? (It was 11.00 pm).Locals nodded sagely, while those who had travelled from afar speculated wildly – was it something to do with the closure this weekend of parts of the M25? Was Birks referring to the nearby railway crossing, and if so, was a very long train blocking it all night? The hall cleared very quickly as the audience avoided the witching hour of 23.00. An amusing ending to an excellent evening.
Personnel
Amy Birks – vocals
Matthew Lumb – piano
John Hackett – flute
Tom Manning – guitar and backing vocals
Oliver Day – guitar and backing vocals
Kyle Welch – bass
Andrew Lumb – drums and backing vocals
Shaun Beetham – sound engineer
Amanda Lehmann – support
Beatrix Players perform at Drill Hall, Chepstow on Friday 12 April 2024