Agnes Obel, St Pancras Old Church | New music reviews, news & interviews
Agnes Obel, St Pancras Old Church
Measured melancholy from Danish singer-songwriter previewing her new album
In the half light of a small medieval church tucked behind London's St Pancras Station, a figure in white plays melancholy songs at a grand piano to the accompaniment of a cellist and violinist. This chamber ensemble had an audience of 84. The atmosphere of this special concert contrasted starkly with the close, humid and overhot day which led up to it.
Denmark’s Agnes Obel had arrived in London to perform a month before the release of her second album, Aventine. Taking its name from one of Rome’s seven hills, the songs on the album – even in this live setting – already feel ageless. They could soundtrack a landscape of neglected buildings, truncated columns and rubble.
Interlacing new songs with old revealed how her songwriting has evolved
Obel’s sound-world in hermetic. On stage she introduced few songs and didn’t speak much. The slightly apologetic manner of her last London show had evaporated. With the tentativeness eradicated, this was a consummate, measured performance. Of course, the extraordinary setting helped.
Although its inevitable surface characterisations might position Obel as a glass-voiced Scandinavian singer to be filed near Regina Spektor, her voice is unique. In France, her first album, 2010’s Philharmonics, achieved platinum status and clearly touched a chord in the national psyche. This may be to do with a pre-rock backbone running through all her songs. Last night, the arrangement of “The Curse” was closer to a stripped-down take on the “Marche au supplice” segment of Berlioz’s Symphony Fantastique than any standard singer-songwriter fare.
The set unsurprisingly weighed more heavily towards Aventine than Philharmonics: an eight-to-five balance. Interlacing the new with the old revealed how her songwriting has evolved. Philharmonics’s "Riverside", “Wallflower" and the album’s title track are structured around rolling, wave-like piano arpeggios played with the left hand; Aventine's newer songs sound as though they were written with less consideration for how they would be underpinned, and are more about melody. The rhythmic pulse is still there, but less forcefully. “Fuel to Fire” and “Words are Dead” have more complex, yet still instantly striking melodies than her older songs.
The new expansiveness impacted on the earlier work. "Beast" acquired a fresh turbulence, matching the concentrated drama of Aventine’s “Dorian”. Compared with her last London outing, Obel was more precise and had a greater rapport with the musicians accompanying her. Anne Müller’s cello and Mika Posen’s (of Canadian band Timbre Timbre) viola and violin are both integral to Aventine and on stage their relationship to Obel and the songs was symbiotic.
Obel has reached deep for Aventine, but she doesn’t shout. Her songs, whether performed live or heard in their studio versions, are stately. This is what helps her contemplations stand apart. Perhaps now, after the impact of her country’s similarly unhurried The Killing paving the way on television, Britain could begin sharing France’s empathy with this Dane’s music. Stranger things have happened.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
more New music
Are you hipster and highbrow enough for Metronomy's in-jokey pop?
Music crosses borders in the shadow of war, with Bassekou Kouyaté and Paul Weller
Peculiarly packaged two-volume collection of essential Seventies Nigerian soul-rock
Scottish and English folk ballads are given the ambient drone treatment by the Earth mainman
British space-funk collective blend local and global while keeping rumps shaking
The producer and record label boss delivers a beautiful blend of influences
Yet another frustrating album from the art-punk outfit
A glimpse of what Europe's cosmopolitanism can really mean in Barcelona
From alt-pop to doom metal to Haitian party tunes, all musical life is here
Expect the unexpected on Canadian songwriter's immersive breakup album
This self-declared official 40th anniversary of punk compilation misses the mark
Game-changing US producer embraces the new with mixed results