(06.08.08) THE Civic Hall in Wolverhampton is a medium-sized venue in the centre of the UK that is a regular stop for touring bands of all types and genres. When Portishead visited it was the busiest I think I have seen the venue in a long time, the audience representing a cross-section of people of all age groups and types including students, teenagers, academics, middle aged couples, scenesters and more besides. There was no one type of fan in any great number; the mix was eclectic, perhaps reflecting the diverse appeal of the band’s music.
Portishead have never been a particularly extravagant band, their stage setup was basic with areas set out across the stage for the respective musicians; two drummers, a keyboardist, a bass player and a guitarist. Centre stage was occupied by the unassuming figure of Beth Gibbons, who looked quite timid in front of the mass of people buzzing with expectation. All were dressed in black with a simple black backdrop. Their lighting was subtle, their only concession being the inclusion of a long rectangular projection area across the back of the stage comprised of three interconnecting screens. Every song had its own film, mostly in black and white, intermingled with moody and atmospheric imagery. Often the screens would feature live film of various instruments being played whether it was a cymbal, bass drum, guitar or keyboard. Most common amongst them were images of various aspects of the drummer playing or simple live black and white images of Gibbons singing, spellbound and hugging the microphone with both hands. Add to that occasional retro visual effects and the combination of the music, imagery and visual impact further amplified the impression of an artistic band that forge their own path, make the music they want to make and do not conform to any preconceptions.
Musically, Portishead live is rawer and slightly rougher around the edges but better realised than their recorded output might suggest. Beth Gibbons is perhaps an unlikely front woman but watching her is enthralling; she gets lost in her art and her ability to perform with such beautiful intensity is captivating. Pairing her amazing voice with the visionary music of Geoff Barrow and Adrian Utley works wonderfully; they have created a sound that is distinctly their own but is still capable of new and interesting things that you might not be expecting, as new album Third illustrates.
What we were given on this April night was a mixture of old and new songs that sat side by side quite happily. The newer songs possess a subtly different, stripped back, slightly more aggressive sound but each one bears that undeniable Portishead sound. They draw from blues, jazz, breaks, electronica, avant garde and any number of other musical genres to create a hybrid that is further enhanced by Gibbons’ extraordinary voice. The result is something that is uniquely Portishead.
Treating the crowd to a mix of songs mostly from 1995’s Dummy and their latest album Third, tracks both old and new sit side by side comfortably despite some of them being first released some 13 years ago. With a gap of a decade between Third and their last studio album Portishead the band’s sound this time around is less refined, gone are the orchestras and strings to make way for a rawer, more experimental sound. They open with the track “Silence,” a song that switches between occasional bursts of low-key rhythmic drumming and minimal guitar that further emphasise Gibbons’ voice. “Hunter,” also from Third, is generally characterised by steady drumming, a wailing guitar backing and sparkling chimes, Gibbons voice again being the centre of attention. The biggest cheers of the night however are received when the Dummy tracks are unveiled; “Mysterons,” “Glory Box,” “Numb,” “Sour Times” and “Roads.” Complete with their trademark breaks, distinct guitar sound, ghostly electronic whirs and the occasional bit of scratching mixed with Gibbons faultless vocals they sound as fresh and vibrant as the new tracks. All bear the same recurring themes; loss, despair, longing and heartbreak. Gibbons’ delivery is spot on, every song delivered with equal passion and conviction, apparently feeling every word and completely lost in each and every song she sings. Everything about their performance is understated but distinctly artistic, from the subtle lighting to the black and white imagery projected as a backdrop. The triumph of the night however is “Wandering Star;” with the entire band seated and the lighting kept to a minimum, the left-hand side of the screens focused solely on Gibbons singing live, outlined in simple black and white, the music minimal and Gibbons voice almost alone. So perfect was the moment that the entire hall fell silent, the perfection of the moment realised by everyone that witnessed it. “Cowboys” also has real presence from the driving guitars to the steady drum breaks and the bursts of scratching battling with Gibbons’ soaring vocal performance.
Of the new tracks, “Mystic” has folk tinged vocals and more conventional but beautifully realised lyrics with a subtle electronic backing that builds to a train-like rhythm during the second half of the song. “Magic Doors” has an anthemic “Fool’s Gold” style crashing break and organ-like backing. Probably the most recognisable of the new tracks is the first single, “Machine Gun,” mostly because of the distinct electronic drum pads which are played live and resemble some sort of early 80’s industrial music experiment but with a definite air of simplistic cool. Gibbons vocals and the lyrics are perfectly matched to this initially surprising track, especially as it follows the sublime and minimal “Wandering Star” in the live set. From time to time the band get more experimental, sampling and manipulating their music and even Gibbons’ vocals live. Closing proceedings for the night is another new track, “We Carry On.” Like “Cowboys” it has a driving presence emphasised by militaristic drum bursts, Gibbons’ short lines of fitful vocal delivery and Joy Division-esque guitar combine to create a powerful track with a fittingly tumultuous climax to a truly wonderful and memorable night.
Third is out now on Mercury/Island. [Purchase
