PJ Harvey @ The Regent Theatre(15/01/12)

Mon 16th Jan, 2012 in Gig Reviews

There’s something of a quiet reverence about the theatre setting, arising either from the seated position of the audience, the distance between the stage and the crowd, or something left over from the venue’s purely orchestral and theatrical beginnings. Whatever the cause, one gets the sense of an invisible barrier between audience and performer. It’s always intriguing to see whether a modern act can overcome or live up to such surrounds, or whether they will simply jar.

Thankfully, PJ Harvey and co. manage to do the former from the outset. Starting in darkness, the band appear in a dimly-lit circle around the drummer; as they lull us with the opening strains of Let England Shake, Harvey emerges from the black, isolated at stage left. Dressed in ink-black attire with a feather protruding from the back of her head, she projects the image of a dark siren, singing of dying soldiers and the horrors of war. Her gently strummed autoharp complements her high-pitched vocals, which are offset in turn by the deep harmonies provided by John Parish and Mick Harvey. After starting on keys and samplers respectively, Mick and John switch to guitar and bass for lead single The Words That Maketh Murder, with its titular catch cry. The bass is briefly overpowering in the mix, but not so much so that it can detract from such an excellent track.

Belgian drummer Jean-Marc Butty is a marvel to behold, his intricate patterns and irrepressible movement providing the foundation for Harvey and co. More percussive than a conventional, propulsive rock drummer, he makes liberal use of floor toms and the kick drum, sending deep vibrations through the echoing theatre. The acoustics of the room are further elucidated with the echoes of applause between songs. This and the bands lack of dialogue makes it seem as though, looking down from the balcony, we are privy to a private rehearsal. Like watching a master artisan at work, one feels that the performance isn’t really for the audience’s benefit; we are just lucky enough to witness it.

PJ is nymph like in her movements; remaining isolated from the rest of the band, she continues to simply vanish into the dark before reappearing for a new song. The majority of the material is drawn from Let England Shake, including All and Everyone, The Glorious Land, Bitter Branches and Hanging in the Wire as well as the effervescent B-Side Guns Called Me Back Again. Written on the Forehead sees PJ replace the harp with a guitar, which she warps in tune with her voice. The bleak rock of In The Dark Places sees a distinct change of pace, while the frail wailing characteristic of the White Chalk album is represented by The Devil.

Dear Darkness is followed by an apt, eerie silence, while the military themes return with The Last Living Rose, kicked off by a solemn marching snare roll. Taking the implicit theme one step further, England sees Butty front of stage playing a literal marching band tom. Classic material such as The Pocket Knife, Down by the Water and C’mon Billy sends the crowd into raptures, before the band close with the dour Gallipoli-themed The Colour of the Earth. It is only now that the audience is acknowledged, with a mild-mannered and softly spoken PJ giving thanks to a standing ovation. A brief but no less excellent encore is performed, taking in The Piano and Angelene before closing, aptly enough, with Silence.