Emmy The Great + Blue Roses
Date: 10 November 2008
Is Emmy really the great? Of course she is, but upstaged tonight by a new kid in town.
Brendan Simpson
This was a seemingly new name for the young Leeds artist Laura Groves and her multi instrument playing companion, who were given the difficult task of warming up a surprisingly partisan crowd gathered for the single promoting performance of Emmy the Great. Well, I say difficult but from this showing Blue Roses must surely laugh in the face of fear and scorn any mention of trepidation, as this was quite simply breathtaking. This two-piece seem to have found a superior sound in similar attempts to invoke a melancholic, empathetic mood to their music. So much so, that Emmy may have to reconsider inviting them to support again as Blue Roses did a great job in overshadowing the supposed big name.
From the moment Ms Groves opened her mouth and brought forth the opening lyrics, those watching were in a state of rapture that almost managed to last an entire performance. The young lady from Leeds has a talent that many will be going green for once heard. If Björk made an attempt to sing like Mary Black this is what it would sound like; each song would only be played on two, maybe three instruments but this was not detrimental in the slightest. Blue Roses have an unerring knack for transforming subtle nuance into something more full and empowering once it has been taken in. At one point it seemed as though we were being enticed by the song of a woodland nymph into a hazy paradise of freshly picked grapes and strategically placed fig leaves. It was this, or just the fact that all around were so pleasantly taken aback by the quality of what they were hearing and surprise that they had not previously experienced it. However, an unpleasant realism dawned in the middle of I Wish I, which in itself could be an anthem for a tear rolling down a face, that all was not well. A feeling that, despite the beautiful inflections, there was a lack of variety was creeping up on the two women. While on the surface there was satisfaction in what you were hearing, it could not detract from the aftertaste of unfulfilled potential. Such precociousness should be giving seed to so much more. Blue Roses are a most exciting prospect and while short bursts will enchant many, there needs to be a deeper well to draw upon if they are to have any real longevity; this not happening would be a travesty for us all.
This was supposed to be a night for Emmy the Great and her band of borrowed musicians. Their new single was released on the same day and there was great anticipation at the prospect of her first album being released early next year. Welcoming as this was for her rapidly growing fan base, there was an undeniable feeling of disappointment after a gig that was supposed to highlight her place among the young, bright-eyed, indie intelligentsia underground.
It too soon became obvious that this is a premature billing for an artist who has yet to realise the good things they show signs of being capable of. They seem to suggest so much in their music that fails to materialise; a determined impending doom that manages to fizzle out so dishearteningly from a position that brought a hot anticipation to the surface in those present. We Almost Had A Baby, new single and the reason for everybody being there, came about as a bit of a non-event. A ring-o-roses overture that plods along without any great enthusiasm and, as harsh as it sounds, lacked any real heart. The audience knew it was there, could here it being played but could not feel it.
The meat of the gig, however, was far more encouraging for Emmy's adoring fans who were urging her to give more. Dylan is an uplifting backyard jam that has more essence to it and should play over all hazy summer evenings. There also seemed to be a preoccupation with integrating hymnal Latin into the lyrics, no more so in an otherwise handsome, heartfelt rendition of teenage church angst in Easter Parade. This may be an ill-advised move due to the simplistic nature of the lyrics and, to a lesser extent, the music. This is not to say that there are a few witty observations, but they are eclipsed by hammy philosophising and childish analogy but a cover of The Pixies' Where Is My Mind was reassuringly faithful to the original and regained some of the interest that seemed to be draining from the set. The saving grace for Emmy The Great is their relationship with the crowd; lead singer Emma Lee-Moss had a constant, lively dialogue with the audience between songs and is a very likable character but cannot seem to relay this into the music.
Emmy the Great may be trying too hard to qualify herself to be seen as mature musicians and shrewd lyricist but there is a moving naivety in her attempts to say something vital but sadly it was not so much moving, as nudging.
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