GIG: ETHAN JOHNS

Ethan Johns live at the Sacred Trinity Salford 18.02.2013

Review by Jon Birch

Photography by John Cooper

This is the second church gig I’ve been fortunate enough to attend in Manchester and it’s an utterly different experience from any big arena, or theatre show you’ll go to. In such an intimate setting, the artist is able to connect directly with the audience in a way that’s just not possible in larger venues. The audience as well tend to be different too, real fans engrossed in what’s taking place in front of them. It’s a real music lover’s experience.

It’s a surprise to me that the show isn’t sold out and tickets are available on the door. There’s a certain thrill in getting on board with an artist before they break into the mainstream, particularly if you know that what they offer is something pretty special. It’s like knowing a secret before anyone else. On entering the main body of the church, support act Marika Hackman is on stage. She’s a fragile looking creature who sings folk songs with a dark edge. She’s an artist that could easily be swallowed by a bigger venue but the gentle finger picking guitar and haunting vocals are perfect for the location.

The Pugh’s are full and extra chairs have appeared for the latecomers as Ethan Johns’ takes the stage. He’s dressed in a black suit, with a loose, crooked black tie and his messy hair and full beard complete the dishevelled look. He greets the audience and kicks straight off with ‘Hello Sunshine’, the album opener. It’s a gentle arpeggiated ballad and straight away he’s got the room under his spell. It’s been a long tour and it’s evident as he follows on with ‘Red Rooster Blue’ that it’s taking a few minutes to get his bearings. He stops half way through and with a bashful smile, acknowledges he’s sung the first verse twice. With such an intimate setting it works to his favour; we’re all in on this together and it’s all part of the experience. He goes again and it’s on the mark this time. The song, he explains, was written initially for Bush and Blair but dedicates this performance to Cameron and Milliband. The political theme is one that’s carried into quite a few other tracks, particularly the rousing call to arms, Valley. These are thoroughly modern protest songs with a thoroughly traditional sound.

The pace and sound level is upped considerably as Johns plugs in for ‘Morning Blues’, the drum machine accompaniment coming from his iPhone. It’s a classic blues track with a deep throbbing bass line that shows his versatility as artist. A quick apology to The Man upstairs (‘he won’t have liked that one, this might go down better!’) and Johns’ takes to the piano for the musing and mournful ‘Eden’.

Throughout the set, he introduces several new songs, again covering a variety of genres. The highlight is ‘Black Heart’ (the second and last time he goes Electric), a track driven by Swampy-Blues style slide guitar and littered with Americana imagery. He explains that he’s been writing non-stop on the road and these songs are very raw and still works in progress. Even with this being the case, there is enough here to make a second album a very exciting prospect.

Johns’ manner throughout the show is engaging, warm and friendly. For someone who’s been around high profile musicians for much of his life, he doesn’t display the slightest hint of ego. His humour is self-depreciating as he tells anecdotes and explains the stories behind his songs. Part of the beauty of playing a venue like this is that he can talk directly to the audience. With a a different act, not so readily willing to converse, let alone admit they may have failings (‘I’m no good at the talking parts, music does all my talking, it always has’) the atmosphere could easily go stale. Johns’ has such a warm manner and charm that there’s never a danger of that.

There is also a generous spattering of covers including a beautiful and breath-taking version of Gillian Welch’s ‘Revelator’(http://www.youtube.com/watch?v=r4LdjEObjGo)and an encore, that isn’t really an encore (we’re asked to imagine he’s walked off and come back), of Howard Eliot Payne’s ‘Lay Down Your Tune For Me’. The former, he says, may be included on the next album and it would be a huge shame if it’s not.

It’s refreshing to see an artist, particularly one who has been in around the industry for so long, that is so humble and grateful. As soon as he’s bowed his head and accepted the applause, he’s down to the merchandise stall at the entrance to the church, signing albums, shaking hands and thanking each and every person for coming.

The next time he plays in the UK, it’s likely to be in a much larger venue. His music will definitely translate to that (and in fact, he talks of how he envisages full band versions of some tracks), but I feel absolutely privileged to have had the opportunity to see him play such an intimate setting.