RELEASED 20.9.2011
So it appears next to impossible to talk about Lisa Hannigan without mentioning-whisper it- Damien Rice in the same breath but judging by this performance that is soon to be a thing of the past. It’s been a good 4 years now since all that business and the once shy, unassuming ‘backing’ singer has grown into a confident solo artist, standing tall, front and centre of her band, a star in her own right. As I stood waiting expectantly in Bush Hall last Tuesday I did wonder why she had set her sights so low, especially as I had previously seen her in the much larger Union Chapel in Islington. Don’t get me wrong, Bush Hall is a fantastically intimate venue, but it is a bit on the small side and this, coupled with the gig’s lack of publicity meant that it wasn’t exactly full to the brim.
Lisa Hannigan's new album Passenger is set for release in September
Her motives became clear early on in the gig when she announced the imminent arrival of album No.2 (Passenger) from which she wanted to play us some songs. ”Some” songs? Try 11. For an audience member coming along just on the strength of her debut Sea Sew the first part of the gig may have been a tad bewildering. No surprise then that there was, even from die-hard fans enjoying the new material, a collective sigh of recognition as the first notes of Ocean and a Rock struck up. The new material does largely represent a leap forward in her sound from the light whimsy of Sea Sew. Whilst the folksy bells and xylophones are present and correct, the music itself was edgier and heavier, richer and fuller. Its quite an eclectic mix, from the country swing chorus of Passenger (previously a Hannigan-mandolin solo) to the bizarre Culture Club-laced What’ll I Do (who’s bass line constantly threatened to erupt into Karma Chameleon) and the ukelele funk of Knots. People are quick to associate this with the maturity that comes with a sophomore album, but the woman has been on tour the world over for the last ten years so I’m sure she’s learned a thing or two. I associate the difference in sound to her own improved confidence in her abilities and her own music, and also the length of time the band have now been playing as a unit. I do however miss Tomo’s subtle percussion, his replacement being very much more a ‘drummer’. Hannigan herself moved effortlessly between acoustic and electric guitar, accordian, mandolin, ukelele and even the dulcimer (on final track Personal Jebus, her own take on the Depeche Mode classic and one that very much would have surprised my mother had she been there!) But ultimately it’s her voice we’ve come to hear, at times soft and husky, at others pained and keening: it’s this that holds us captive. Throughout the gig it was Hannigan’s humour that shone through and it appears she is finally able to relax on stage and enjoy the experience. It was most evident in fun encore track Safe Travels, Don’t Die with it’s urge to be safe on the way home “Don’t swallow bleach out on Sandymount Beach, I’m not sure I’d reach you in time…” This is an artist at the top of her game, a real delight to watch and listen to. I’m looking forward now to a new album (September hopefully) and another gig, in a bigger venue please, Ms Hannigan, if you’re reading: It’s time to bring this woman to the masses.