Courtney Marie Andrews at The Parthenon Nashville 26th September 2020
‘From this Arizona desert, to your cold English shores, I’m sending you my love and nothing more’.
The final words from Courtney Marie Andrews’ album OLD FLOWERS are also her parting declaration to this breath-taking performance, streamed live from The Parthenon in Centennial Park, Nashville.
She’s seated at the piano in the centre of the large hall, where she has presented the ten songs from OLD FLOWERS in the same sequence as they appear on the album. It’s quite a striking setting – a large rug is placed in the middle of the stately room, sparsely decorated with flowers, candles and a Wurlitzer electric piano, guitar, pedal steel console and microphones.
Accompanying her are vocalist Erin Rae, who also adds percussion on occasion and multi-instrumentalist Matthew Davidson on pedal steel, electric piano and violin. Both these players leave the stage for that final song Ships In The Night, as if to give Andrews the breathing space and privacy to perform the song without distraction.
The atmosphere gently reflects the melancholic sentimentality of Andrews’ fifth album which addresses the breakup of a nine-year relationship.
Released in July of this year and without the option of an album launch to a live audience, this evening’s setting, somewhat ironically, perfectly captures the tenderness, vulnerability and delicacy of the album. The communication between Andrews and her musicians is minimal yet respectful, and there’s no conversation or introduction to the songs. Why would she?
The lyrics spell out heartache, acceptance and resilience, drawing the listener into every track with the pain and confessions clear and raw. The imposing camera work captures her in close up, spotlighting facial expressions that suggest emotions of fragility, even exasperation.
Her vocals are crystalline, beautifully supported by Rae’s gentle tone and the musicianship is exquisite throughout. Guilty, Old Flowers and Together or Alone feature Andrews’ vocal and electric piano and only Rae’s backing vocals. Carnival Dream is one of the most potent offerings from the album and here she expresses it vividly with the song’s climax adorned by Davidson on electric violin and Rae adding percussion as Andrews agonises: ‘Will I ever let love in again.’ How You Get Hurt is another highlight with confiding vocals enriched by wisps of pedal steel. If I Told finds Davidson switching to piano on another song of sensitivity, sadness and optimism.
Throughout, Andrews draws you in to every intense song; you get the sense of a wound not yet quite healed. But you are also reminded of the incredible talent she possesses as a songwriter, singer and musician.
Review by Declan Culliton