The silence is only broken by some nervous giggles as Aldous Harding gingerly takes to the stage at 9.15pm, dressed in billowing white flared jump suit, trainers and black pullover. There’s an anxious tension in the air, bordering on electric, akin to an apprehensive school classroom, as the pupils guardedly await the mood their favourite teacher may be in on arrival. Taking a seat and staring mischievously at the audience, Harding has the appearance of a mid-70’s Marcel Marceau mime student, or the type of character you might encounter in a David Bowie video. She hesitates as if psyching us out, before delivering her two opening numbers solo with acoustic guitar. I’m So Sorry and Living The Classics are played hunched and swaying on her stool, as if oblivious to her predicament and surroundings. Both songs featured on her 2017 album Party, which earned an IMPALA nomination as European Album of The Year.
Her four-piece band join her on stage and launch into Designer, the title track of her latest album, hailed as one of 2019’s finest in many quarters. The mood changes in the room to rapturous applause and throughout her seventy-five minute set, Harding and her seriously talented bandmates, deliver a quite mesmerising performance. Currently resident in Cardiff, the New Zealander’s band are Mali Llyweleyn on keyboards (and occasional guitar), Gwion Llewelyn on drums and trumpet, Huw Evans on guitar and Harry Stevenson on bass. An extremely well-oiled unit that flawlessly compliment Harding, their collective playing is superb, in addition to adding backing vocals and harmonies to Harding’s own crystal-clear deliveries.
She continues with Zoo Eyes, Treasure and The Barrel, all also from her current album and all equally well received from a captivated audience, before once more dipping back into her PARTY album with What If Birds Aren’t Singing They’re Screaming and closing the ten-song set with Blend from the same album.
Harding’s every movement and facial expression, however hesitant they may appear, seem choreographed to perfection. She switches from seated with acoustic guitar - her playing is excellent - to standing menacingly, and also joins Llyweleyn on percussion for two numbers. At times the influence of P.J. Harvey is evident - no coincidence that John Parish has produce Harding’s last two albums - other times Joanna Newsome. However, despite certain similarities, she has, to her credit, developed a quite unique style of delivery of her own. Her engagement with the audience this evening is minimal, a number of barely coherent ramblings. Yet the intensity in her presentation seems to draw you in, generating an attachment whereby you feel you’ve become part of the performance. And actions do speak louder than words, she is unable to suppress her obvious pleasure at the audience reaction and ovation at the conclusion of the main set.
Two encores follow, Imagining My Man and Old Peel, closing what has been an extraordinary experience and one that will be parked in the memory bank of anyone that attended for some time.
Utterly brilliant.
Review and photo by Declan Culliton