Liz Martin @ the Vanguard(25/11/07)

Wed 28th Nov, 2007 in Gig Reviews

I am a true believer in the audience sleeper. Those who become so consumed by the music, so engulfed in the blend of sound that they can shut their eyes and seem motionless; focussing all movement towards their ears and mind.

I have only ever witnessed this once: at a Necks concert at the Spiegeltent at the beginning of this year – a handful of the audience were entranced for minutes after the majority of their fellow listeners had up and left their seats. The Vanguard on Sunday the 25th was where I could be spotted giving the listeners sweet slumber a taste.

Now, last weekend was particularly fabulous – John Howard was tossed aside, away, oh so far away, and much like many other voters, I spent the Saturday night celebrating. Hence, I thought, heading to a concert the following day could be tricky; however, to my absolute surprise it was easier than I’d expected. The deep, raspy vocals of Liz Martin made the blunt-head-hammering easier to bear.

The launch of Martin’s new EP ( Night Music ) saw a sparse audience at the Vanguard – it seemed as if most were friends and family, with a few fans here and there. The upstairs balcony was kept closed to make the venue more cosy and intimate for the show.

Very quickly, the tardy support ( a duo, I think named Kathellisism ) strolled onto the stage – their presence was made aware more so by the singers outfit commentary; referencing Jane Austen, saying, “Oh no Mr. Darcy, don’t fuck me up the ass tonight, I’m sore from last night” – … what? The audience was immediately captivated. This hilarious woman clawed her way through a set of acoustic comic-opera, exposing herself on numerous occasions and using an on-stage electric fan to rehash scenes from Wuthering Heights, “Heathcliff, where are you Heathcliff…” This act wasn’t quickly forgotten, however, the music was hardly part of that memory.

Liz Martin played with Michael Bridges (releasing their joint effort EP) and together they created what I like to describe as ghost music. The small amount of instruments utilised, Martin sung and played electric guitar, and Bridges played violin and musical saw, explored only the skeleton of what could potentially be a fuller, more extravagant sound. This left the remains spaciously haunting, which had a unexpected uniqueness to it. I enjoyed it thoroughly as my eyes gave way, and my hand could no longer raise the glass to my mouth – though my ears and mind were still content.

Later, two other musicians joined the duo, playing clarinet and double bass. One wore a large cowboy-looking hat, and with their sparse, distant sound, and their miscommunication with the audience, the group seemed somewhat ghostly, some old saloon bar ensemble from long ago we were watching on an old film. Martin’s guitar was similar and constant: pluck-strum, pluck-strum – and the repeated nature of the lyrics paid more attention to the melody and the accompanying instruments, she even made specific reference to her set list’s fixation with death.

A creepy mellow enjoyment I would say, and one that was more than welcomed with a heavy head. – œNight Music’ is one to add to the collection alongside the Dirty Three and haunting duo’s containing Nick Cave and Kylie Minogue.

Listen to Liz Martin and Michael Bridges’ EP Night Music at:
www.myspace.com/nightmusikep

Download our latest podcast featuring a track from Liz Martin HERE