(5 / 5)
Wow. What have you done to me Robbie Cavanagh? I did not expect that. The debut album of this Manchester musician, released this week, stunned me into almost complete silence. Titled ‘To Leave/ To Be Left’, Cavanagh’s first full-length feature may begin with a feel-good beat, but it gradually becomes a mystical, beautiful and haunting piece of musicianship. To touch it would be like caressing the finest of silk. Each of the eleven songs on offer has been carefully handcrafted, honed to such perfection that, if made of wood, your finger would glide smoothly over their surface. It is simply stunning.
The opening track ‘Get Out Alive’ does nothing to prepare you for what is to come. A lively start, it gives credence to the “country artist” label which Cavanagh seems to have been afforded. However, as the album progresses, he breaks away from any generic confines that industry and media moguls might want to place on him. The next couple of tracks seem to slowly move from country-style ballads to something altogether different. Whilst “Godsend” could be attributed to the likes of Andrew Combs, for example, “Reverence” and “Scars” (which follow) have much more in common with the likes of Welsh folk singer Al Lewis. These offer a simple and repetitive backing track played behind an acoustic guitar, and given an otherworldly feel by the slight reverberation that is added to the vocal output. This ethereal quality, which begins with a degree of subtlety in these early tracks, goes on to permeate through the rest of the album. The listener is soaked in haunting melodies and saturated in a spiritual soundtrack. The heart-rending lyrics only seek to elevate the emotional veracity of Cavanagh’s sound. ‘Let You Down’ is heartbreaking. ‘Fool’ is incredibly soulful. ‘Still Talkin’’ is painfully gorgeous.
This is an intimate album. Cavanagh has an incredible ability to create this close atmosphere through his music. It is just you and him. All other potential distractions are completely drowned out. You become lost in the sensitivity and vulnerability of his performance. At one stage, I even found myself brought to tears. I was so overcome with emotion during ‘Sleep Now’, I couldn’t quite believe what was happening. Ironically, the song features the line, “What are you weeping for?” Well, Robbie, I’m not quite sure, but I think it might have something to do with your singing. Whatever the reason, I certainly did not expect that reaction.
Together, this exceptional selection of songs marks Robbie Cavanagh out as an accomplished songwriter and musician. He is a major talent who deserves all the plaudits that will surely come his way with such a breathtakingly beautiful debut. I would strongly recommend listening to ‘To Leave/ To Be Left’. Be warned though. It may leave you speechless for a time. You may also experience some unexpected emotional reactions.
(4 / 5)
This is a one woman show performed by the great South African actress Janet Suzman. Lasting just over 2 hours it is a tour de force, telling the compelling and poignant story of an elderly Jewish woman looking back over her long life. It spans much of the 20th century, from a hand to mouth childhood in a Ukrainian village up to a comparatively affluent retirement divided between Florida and Israel. Encompassing Stalinist oppression, the Warsaw ghetto under the Nazis, escape to Palestine on board the infamous SS ‘Exodus’, and then resettlement in America, she tells of her family, lovers, husbands, children and grandchildren. It is a story punctuated by loss and grief, as well as love and redemption.
If the aim of theatre is to educate then this play certainly achieves that, as we learn so much listening to this character’s story. But that’s not to say that this is a dry didactic piece. It is entertaining too, drawing us in with the wonderfully engaging power of the story. Written by the award-winning American playwright Martin Sherman the writing is never dull, often moving and sometimes amusing, a narrative that carries the audience along on the colourful and eventful journey through Rose’s life.
As for Janet Suzman’s performance it is an impressive feat for any actor, never mind someone of her age, to perform a monologue of this length and power with such apparent ease and charisma. We were quite simply blown away by it, and it won a richly deserved standing ovation.
A mention should also be made of the director Richard Beecham, as well as the design, lighting and sound team (Simon Kenny, Chris Davey and Adrienne Quartly), whose various contributions combined to make this into a memorable piece of theatre.
Walking the streets of Manchester on Wednesday evening, it felt like any other visit to the city. With the exception of some TV cameras and a clear police presence, it seemed like business as usual for residents, commuters and tourists. Outside The Ritz, the popular music venue opposite Oxford Road station, heightened security meant that each individual was patted down on entrance. Inside though, it was standard procedure – find the bar, grab a drink, and wait for the music to begin.
There was plenty to be inspired by as a visitor to this city, coming less than 48 hours after a terror attack which left 22 dead and dozens injured at the MEN Arena. A spirit of defiance, to not let this savage brutality determine the way people go about their daily lives, was powerfully present, not just in the streets but inside The Ritz too. The decision of country duo Ward Thomas to go ahead with their planned gig here was met with widespread approval. They had postponed the Northampton leg of their Cartwheels tour 24 hours earlier, out of respect for those caught up in Monday’s bombing. Now, it was time to show solidarity with the people of Manchester, to stand together with them, and choose light over darkness and despair.
They opened with a song that, already powerful, took on a much deeper meaning in light of Monday’s event. Sung under ambient lighting, ‘Safe’ speaks of a place of rest, forgiveness and healing. It also features the incredibly moving statement, ‘You are not what happened to you’. It was the perfect song choice. It spoke right to the heart of this musical city. Here, on this night, were words of faith, hope, and love. Then, for a moment, this nightclub venue became a hallowed church: a minute’s silence to remember those who had lost their lives. Throughout the whole evening, as at this moment, the spirit of togetherness was extraordinary. The applause that rang out afterwards only echoed this further. It was all very moving.
After this emotional tribute, Catherine and Lizzy set about performing their planned set. Suddenly, there was a huge explosion of light and colour that hit the stage. In front of a black backdrop dotted with starry lights, the two sisters splashed great energy and enthusiasm over their country rock records. In contrast, their soulful ballads were marked with sweet harmonies and a simple spotlight. In both instances, the audience were full of applause after each song. It felt almost like a statement of intent. This was a celebration of this city’s musical identity. This is taking nothing away from Ward Thomas however. They deserve applause as artists in their own right. With ‘Cartwheels’, they have created a stunningly beautiful album. To become the first UK Country act to reach No.1 with their material is no fluke. These ladies really do deserve all the accolades that come their way. They write such powerful and emotional lyrics. They tell such great stories. There is a profound, and often universal, depth to their songwriting. And they can now add live performance to their ever-growing list of achievements. This concert, at least, was brilliant.
This concert was also inspiring. Ward Thomas played their part (as did Wildwood Kin, who were supporting them) but it was the audience who made this night special. Instead of staying away through fear, they turned up in their numbers. They responded in perhaps the best way one can to such a terrible, fear-inducing event. This simple choice of turning up, of coming together – this community spirit – sent a message. It was a message of hope, of solidarity, and a sign that love remains triumphant over hate. It was a real privilege and a great opportunity to be in the midst of such inspirational people. A moving and life-affirming night.