Other Reviews

02/02/2010

The Imagined Village: Live

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Bristol Colston Hall 23.01.10

Always a commanding performer, not one detail of Chris Wood's 'Hollow Point' is lost in this big hall; the nightmare lurches from daydream to grim reality, as the penny drops, and Charles De Menezes enters the tube station.

This solo support slot is a bonus feature and he revels in the highlights of his 'Handmade Life' album. Wood's credit crunch blues, 'The Grand Correction', is his latest take on the economy - a neat update to 'The Cottager's Reply' - possessing wit and characterization second to none. He remains our sharpest chronicler of life.

Phase two of The Imagined Village is a different beast to the original. After all, this grouping doesn't contain the irrepressible Billy Bragg, who, amongst his many talents, doesn't really do blending in. That's not to say there isn't charisma here, after all, the front line contains Wood alongside two Carthys, Martin and Eliza. But it is an adjustment in personnel that takes a moment to sink in along with a move towards, what feels like, a more organic sound.

It says something for our modern listening habits that we don't bat an eyelid at 'Scarborough Fair' being introduced on sitar. Or a version of 'John Barleycorn' which kicks like a mule. This is what the group is based on, eclecticism and experimentation, however, the initial thrill of phase one has gone and a different picture is emerging. Sonic architecture in itself won't win over a hardcore folk crowd.

Although, Eliza Carthy smooching her way through Ewan MacColl's 'Space Engineer', employing her irresistible jazzy lilt, works a treat with an undertow of nifty sound effects. The balance is maintained when Jackie Oates joins Eliza for a sumptuous duet on 'The Lark in the Morning'.

Rock dynamics are spliced into the classic 'Byker Hill' and 'My Son John', the latter a fresh take on conflict and grief: impressive, but, in contrast, it's the earthbound and updated version of 'Hard Times of Old England Retold' that touches the heart. And in both cases it's the narrative elements that win the day.

Finally, the warmth felt for Martin during the encore is immense as he guides us through an inspired version of Slade's 'Cum On Feel The Noize'. This is the one that will sung by the audience in days to come, but it's doubtful anyone will match the master's Johnny Cash delivery.

This project certainly still has momentum, as proved by the 'Empire & Love' album. Just where the controls will be set for next time though, is anyone's guess.

David Kushar

http://www.emmersoncorncrakeconstantine.co.uk/theImaginedVillage/index.php