Not so with SvE. I have waited for what seems an age to see her and so expectations were high but  it was a breathtaking and mesmerising show. The four piece band was excellent (SvE, Heather Woods-Broderick [sister of Peter], Doug Keith and Zeke Hutchins) playing with the sensitivity required of the material but with the pep needed for a live situation.

The drummer, Zeke Hutchins, was a joy to behold, a wonderful combination of loose limbed relaxed but tight and precise with a blissful expression throughout, “Sharon! Your drummer is amazing ” bellowed the Peeblemeister in his most manly fashion across the crowd between songs, he clearly wasn’t the only one who thought that.

The set was the fabulous mix of the last two albums with the older Tornado (flaky – and distant –  vid below) delivered mid-set by SvE alone. Everyone will have their own favourites, the Peeblemeisters Peace Signs was there as was mine, Don’t Do It, both from Epic. Give Out was spellbinding and indeed the new album sparkled,shone and shimmered: Ask, Serpents, Kevin’s, oh, the whole damned lot was perfect.

SvE herself was astounding, the voice, the sultry looks (damn, I’m in love, let me count the ways) and a banter that was unaffected and personal, her charm and warmth – a winning combination of outrageous talent and someone you would just love to hang out with.

The last slot of the set wasn’t a rabble rousing number but, I’m Wrong and Joke or Lie building to a slow, emotional climax that made your chest fit to burst. Of course there were encores but it could have ended right there, a perfect, perfect moment.

Personally it had been a bad, bad week and if truth be told I felt more than a little guilty about going out to enjoy myself. But, not that I asked him, Pa would have told me not to be so stupid and to go. So go I did and how pleased I was; an unutterably wonderful evening, it doesn’t get much better than this.

This is not music that I know much about. Although I have a couple of sets of Daniels music, under his moniker of Sacred Harp and another with Ryley Walker (who is hard to track down) both of which I have greatly enjoyed.

Apparition at the Kenmore Plantation was an intriguing set (with its micro European release via Hands In the Dark Records ) and there was much to be enjoyed , but Oh Be Joyful feels a little less self aware somehow, playing down the droney influences to concentrate more fully on the wonderful guitar work.

Mr Bachman often gets references to Robbie Basho who I only know through reputation and swift dash through his archive, but the nods are clearly only meant to be complimentary. The steel string work is indeed very fine not least from someone so young, and rumour has it that a live show is a great thing (though sadly yet to be experienced this side of the water).

In contrast to the cemetery cover shot, the tracks are run through with the sense of joy referred to in the title of the set. The earlier tracks like White Oak with their more traditional southern flavours are thrown into relief by tracks like Sita Ram, the longest track here, coloured through with Indian accents of the raga, gentle drones and percussion.

All in all a mesmerising album from a deeply talented chap (see his discography here). Oh Be Joyful indeed! The album can be obtained, single pressing vinyl only, through his label One Kind Favour.

Fear Fun is a gorgeous album of luscious Americana music with more than passing references to Roy Orbison, Harry Nilsson and unmistakable Beatles twangs. But this is no mere pastiche, he pulls together these historical references, turns them on their head a little and binds it altogether with a slew of what feels like confessional stories, and if anything it is this combination and the swing from the morbid to the illuminating that marks the charm and strength of this set.

The arrangements and sound are unerringly orchestral compared to passed work; the harmonies, the spaciousness, the greater strength of his voice this time around. No longer the wistful, fragile tone but now a greater presence and determination.

There are some wonderful lyrics and references in here too, often dealing with some glum issues, some of his inner demons ; the attention grabbing opening lines of ‘Oh pour me another drink/And punch me in the face/You can call me Nancy’ from  Nancy from Now On; the references to Satre and Heidegger, and phrases that ring loud and clear for me, like ‘Every man needs a companion/Someone to console him/Like I need you’from the closer and highlight for me Everyman Needs a Companion.

A striking and wonderful work, something that feels adventurous but familiar, something dark and edgy beneath the unquestionable beauty of the music. It may have taken him a drug fuelled journey and the tackling of his own problems but if the advent of Father John Misty gives us music like this, we can only be thankful.

We got treated to two supports – first off Jasmine Rodgers  with some deft, heart-felt and lovely songs, her voice a little Tracy Chapman, a little Laura Marling, some nice banter and she successfully got everyone into the groove and made some new fans in the process. IDS of course was chuffed to see a soprano Ukulele in use – just wait til you hear him on his concert sized one !

Next up was a full band thang led by Dan Whitehouse and his accomplished band (with some great piano, double bass and box percussion) with a set of very assured songs from his EP’s and album. Ever a sucker for lap or pedal steel guitar, the addition of Chris Brown on a couple of songs was an extra delight.

Without much ado SM sauntered on stage and delivered his perennial combination of astonishing guitar, voice of a Wolvo angel, some typically Black Country humour and the usual gaps for tuning and chat backs to the sound desk. This is the combination that makes a SM gig always so warm and human, like your mates turning up and playing extraordinary music just for you.

The set list covered much from the ‘new’ album What the Night Delivers, now much toured following its ‘soft’ launch last September. But in there too were songs from Elsewhere and Passsing Stranger plus an unscheduled Elusive and a great improvised jam to cover the sorting out of a little sound problem.

The band was right on it, the excellent guitar of Greg Stoddart,  the slinky percussion of Sam Martin (he of the ‘barely out of bed’ eyes) and some niiiice bass from a chap whose name I missed… sorry.

There is always so much to enjoy in a SM set, the older songs like City Headache and Passing Stranger still a genuine joy now with their embellishments over the years, and the newer given the added punch of live delivery. The thing that I love in his live set is the harder edge, a bit more rock in there, the added spice of a band interacting on the night. How great would it be for the next album to rock out a little, to throw the beautiful ballads into yet greater relief with some more straight ahead blues stuff that they do so well…. just thinking, that’s all!

But another roaringly good evening, yet again making the trip from deep in the Five Valleys all the way to the Black Country more than worth the effort. Top stuff Mr M, top stuff indeed.

The delicate and endearing Julie Doiron opened for them, alone with her guitar and her fragile but absorbing songs – I felt guilty about not knowing of her before, and guiltiest still of no getting any of her material from the merch table at the end – but it can still be got from her site and her skills should indeed be sought out. Her wonderful rendition of Pavements iconic Shady Lane went down a real storm.

Shearwater’s music is never less than remarkable and the latest album is no exception; harder edged than its predecessors, it has consistently lifted my soul since it fell into my greedy and expectant hands a few weeks ago. The touring band this time made up of Mitch Billeaud (of The Lemurs) on keys and guitar, Lucas Osward (Minus Story, Hospital Ships and The Appleseed Cast) on guitar, twiddly knobs and backing vocals, Danny Reisch (The Lemurs and Animal Joy Producer) on drums and Christian Mader (Brass Bed) on bass and backing vocals, plus of course the peerless Jonathon Meiberg. Together they produce the more muscular sound needed to reproduce the current album and to add beef to some of their back catalogue.

Despite the roaringly good drums from Mr Reisch, the brilliant Rickenbacker produced bass lines from Mr Mader, Jonathon Meiberg’s distinctive vocals soared clear above the band and the alternately delicate and driving guitar and keyboard work than permeates all the tracks.

The generous set opened with Rooks and went on to reproduce all of Animal Joy interwoven with material from Golden Archipelago and Rook, the sublime Castaways being an especially wonderful moment. The new material sounded sparkling with Insolence and You As You Were surpassing even the recorded excellence of the tracks. It was clear that the set closer was going to be the final track form the album, Star of the Age, it’s glorious climatic build perfectly judged as a closer. They returned for an extensive encore of earlier material.

There are but few bands who have the capacity to transport me so completely, whose music is able to transcend the frankly more than humble surroundings of the venue, a band who I seem to find it hard to criticise in any shape or form, creators of wonderful music beyond qualification; but Shearwater is one such.

Here I am two days after the show still replaying it in my mind, a stellar show from a band that deserves so much more recognition. But what a joy to be able to meet them and chat briefly with them afterwards, such obviously fine chaps, so unassuming; what is it like, I wonder, to produce music that can resonate so deeply and leave such indelible marks?

There is no point wittering on about the star cast lined up to play and support, the National have been long time fans and supporters. But the impact of these additions is undeniable – from the sparkling but restrained guitar work if  Aaron Dessner to the spacious and evocative production.
But throughout the essence of SvE stands out, that remarkable voice, the quality if the song writing, the wrenching emotional punch.

Despite there not being a weak track here, some of course stand proud, like the magnificent Give Out, the fabulously loping Magic Cords, and All I Can which builds to that almost Roy Orbison ending.

SvE makes but brief visits to these shores but May 16 will see her at the Scala in London and I await breathlessly to hear her perform these songs and hopefully some from Epic as well.

Tom chose High Wire/Tight Rope, originally recorded for BBC Introducing Bristol, which came in at around 1’46″ during the show, it will be there to play again for a week so toddle along and play the whole show but slide back and forth across the prime track !

A personal fav, HW/TR sounds epic on the radio and especially  my favest part towards the end (about 1’50″ summat on the show). Well done Dave Artscare for bringing BBB to the attention of the nation – Marc Riley session next methinks, get on it Dave !

The Bristol session and all the rest of the BBB canon can he heard (and bought) through their website- how can you resist!

Whatever the context Roddy Woomble has a non pareil voice whether its screamed with lungfuls of air, or delivered with the softness and attention of his solo material. A voice I could listen to for many a long hour.

On this, the second sortie in support of his latest material, The Impossible Song and Other Songs, he was again accompanied by the same band that he had with him at the Colston Hall show last October, less the drummer this time. Gavin Fox on bass (past bass player  in Idlewild and now Concerto for Constantine), Sorren Maclean on  guitar (and if his Twitter account is to be believed, a full on foodie) and the hugely talented Seonaid Aitken on fiddle keys and vocals.

Looking more at ease than he sometimes did fronting Idlewild, the two part set covered material from both solo outings and songs from the McCusker, Drever, Woomble collaboration – songs like Waverley Steps (vid from October is here), Silver and Gold, My Secret is My Silence are all gems. Covers like Niel Gow, and the wonderful Travelling Man from sadly missed Bert Jansch are now regulars as is the Idlewild track You Held The World In Your Arms. (vid from October is here) This time we also got the track recorded on Ballad of the  Books using the words of Edwin Morgan, past Scottish poet laureate as well.

Necessarily Roddy Woomble gigs are a little more sedate these days, especially in the Pump Room in genteel Cheltenham Town Hall, and of course I sorely miss the crush and energy of Idlewild days, but the voice is still there, woven through these delicate songs, the voice with its brogue and effortlessness, you can’t take that away. Make Something Out of What Its Worth as the man says.

The shocking pic is in large part due to the Pillar Room having big,well, pillars, and the lighting being a bit brutal, oh and me not being in the right place…

Now the Grain Barge is no Thekla despite it being a boat, more ‘intimate’ (aka small) and the PA kit is all a bit flaky but the chaps put in their usual energetic performance despite being contained on a bijou sized stage.

No crowd mingling for Hector tonight but Dan, the bass maestro, for a change wasn’t tucked away behind the speakers and so he could throw a few rock star poses. He really does play some fine stuff, the rock that underpins all that they do, and a bit of an unsung hero IMO.

The half hour set whizzed past at a rate of knots, opening with the great Hymn cruising past 1000 Things, Robots among others. Of course the monumental The Great Outdoors was in there – I have said it before, but its such a  bloody good track, it really is. They ended up with Final Song which of course is a fine song and also sounds like it should end a set, but I can’t help feel that it might be better to leave on a sonic and energy high, still its not my call and it is a track that shows their more sensitive side!

There can be few bands who put out such a consistently high energy and propulsive live set as BBB and they grow in stature at every turn. If you still haven’t seen them (and yes I am talking to you Bas and IDS!) then sort yourself out and run along as soon as you can.

OK that’s it on BBB for a while, the things I do to get a cheap ticket…  (like that’ll ever work !)

Album eight, Animal Joy has similarly connected at the right time. Now more punchy, stripped back and frankly a little more rock, it deals with the tensions and conflicts of letting things go, moving from one phase of life to another. All things that have been pre-occupying me for some time.

Jonathon Meiberg has the sort of voice I crave, combining that haunting falsetto with a deeper, richer timbre. He sings with that open throatedness that you sometimes find in flamenco or eastern European singers, no hint of restraint, a voice from deep within. He also writes the most wonderful lyrics, poetic and carefully wrought. Lyrics don’t get much better or evocative than this,  “I held your name inside my mouth through all the days out wandering”

The playing on this album too is harder, sharper adding to the sense of frustration and anger. I was so ready for a greater punch and drive, the pounding and inventive drums of Thor Harris (now there’s a name) and the deliciously distorted guitar held in check in so many tracks, and Meiberg’s wonderful vocals.

First single Breaking the Yearlings (below) gives a clear marker to the change of spirit, Immaculate even more so in its rockiness, whereas the outstanding You as You Were and Insolence balance that edge and the complexity so markedly Shearwater. Closer, Star of the Age has drawn a little flak for a bit too AOR but for me its a swelling climax to a stirring  album, non-one could put this band in the middle of the road.

Although there is such a sharp contrast between this more propulsive and urgent record and its beautiful almost spiritual predecessor, this is unmistakably a Shearwater album. It rises and soars, its deeply eloquent, infused with nature, heart-swellingly wonderful.