By: Martyn Coppack
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Liverpool Philharmonic Hall | November 22, 2014
Liverpool Philharmonic Hall is a rather strange venue for a musician more inclined to popular music rather than the austere world of symphonies, but when that musician is John Grant exceptions have to be made. Riding the crest of a wave with Pale Green Ghosts, Grant is one of those artists who continuously strives to experiment and move forward.
So, when Grant takes the stage at little after 19:30 backed by the Royal Northern Sinfonia there is a sense of palpitation in the air and a knowledge that we may just be in for something special. As the opening strains of ‘You Don’t Have To’ start their slow rise, Grant cuts a formidable figure as he stands abreast of the stage. Brimming with confidence yet humble to the core, he starts the show.
‘Vietnam’ follows with with a first indication of how the songs off Pale Green Ghosts may work out, although as this is essentially a band driven song rather than some of the more electronic excursions it slips comfortably into a run of songs that show the lush side of Grant’s songwriting. ‘It’s Easier’ and ‘Marz ‘provide ample opportunity for the orchestra to show their chops, ‘It Doesn’t Matter To Me’ shows a band at ease.
As if the thought of reworking his songs for orchestra is not enough, Grant also brings four new ones to the table tonight and on the showing of ‘Geraldine’ and’No More Tangles’ we can certainly expect something quite fantastic from the next album. These are the icing on the cake though and what follows is truly extraordinary.
Stepping up to the challenge Grant introduces a song which should not work in this environment. ‘Pale Green Ghosts’ was this reviewer’s biggest question, but all worries were just blown away as the electronics blended sublimely with the orchestra to create something that was utterly outstanding and made the album version sound inconsequential. As the 303 wrapped beats with a swinging Sinfonia, jaws were agape as the gig took a sudden turn. Here was that moment that transcended everything.
Like some lock had been unlocked there was no stopping the music on stage now and as a beautifully rendered version of ‘Where Dreams Go To Die’ brought tears to the eyes, yet another new song turned the Hall into a small apocalypse. A rare version of ‘JC Hates Faggots’ showed the acerbic side of Grant replete with the arch ironic gestures that his lyrics so encompass.
The final third of the show was a quest towards the sublime as a triumphant ‘GMF’ turned to a haunting ‘Outer Space’ only to be followed by the brilliant ‘Sigourney Weaver’. Band and orchestra merged beautifully making these songs find new places and new emotions and leaving the originals way behind.
It wouldn’t be a Grant gig without ‘Queen Of Denmark’ though and as he teased out the chords on the piano the orchestra readied itself for its explosive finale. Words can’t describe how it felt a bit if there is music in heaven then this should be it. It actually got better too as a devastating ‘Glacier’ showed the true power of the song and reduced the audience to a quivering wreck.
‘Caramel’ finishes the show and by now the audience are totally in Grant’s hands and have experienced every emotion known to human being. A standing ovation just didn’t seem to be enough and for one night only Grant belonged to us and we belonged to him. There are gigs and then there are moments like this that show how music can really be delivered in a live showing. Quite simply, this was something that had to be experienced and those couple of hours are going to stay in the hearts and minds of the audience for a long, long time. Simply magnificent.
