Second time lucky. Bess Atwell’s long-awaited show at Koko, postponed from February due to illness, proved well worth the wait. Judging by the warmth of the crowd, no one seemed to mind the delay. Atwell herself referenced the postponement by saying that, “at least I can sing now.”
The set, as on Atwell’s recent album “Light Sleeper”, began with the rather magical ‘Everyone Who’s Not In Love With You Is Wrong’ – a song that showcased Atwell’s amazing vocals, as well as the brilliance of the musicians she has chosen to work with on this tour. It is a song that pulsates and swells, and it appeared to capture the audience immediately. The band was introduced later in the evening (first names only) and included the multi-talented Andy variously on guitar, violin and keyboard, Davey on bass, Phoebe on keyboards and Jules on drums and baritone euphonium – an impressive feat, especially when playing brass with one hand and drums with the other.
Many of Atwell’s songs are introspective, but this did not affect the greatness of the performance: the crowd appeared to be with her all the way. Second song up, ‘Release Myself’, despite being a very reflective number, had many of the audience singing along. “Got a lot to be forgiven for/Gave a lot of hell” is a very confessional line, but on stage, as in the studio version, Atwell managed to make it a moment of catharsis. Momentum was maintained through ‘Spinning Sun’ and ‘Sylvester’ before Atwell introduced the first number not from “Light Sleeper” – the brilliant ‘Co-op’, a track that wryly navigates love, or the lack of it, via Blondie tribute concerts.
Atwell introduced the next song, ‘Something Now’, by saying that she had always wanted to play this venue since seeing psychedelic rock band Pond play there a number of years ago. And you can see why. Koko was originally an Edwardian theatre and it retains its grandeur. It also has a wonderful history and was known as The Camden Palace.
Next up were ‘Crowds’ and ‘I Am Awake’, songs that seemed somehow fuller and even more magical live. The former had an almost mystical feel, and the latter had the wonderful use of brass. After this Atwell asked the boys to leave the stage and introduced ‘Cherry Baby’ as an older song about being a woman. This was performed by just Atwell and Phoebe, Phoebe having been described by Atwell as one of the “best songwriters I know”. It was a powerful and moving duet.
Following was the subtly Eastern-influenced ‘More Than Science’, the upbeat ‘Red Light Heaven’, ‘Where I Left Us’, ‘Light Sleeper’ and then what was one of the highlights of the evening ‘The Weeping’ – a song that started with a guitar but then the whole band joins in in perfect unity, and an amazing violin part lifts the song to something very special.
Atwell then announced that there would be three more songs – like an encore but without having to leave the stage. This trio of songs began with ‘Fan Favourite’ which managed to be upbeat and sad all at once. Two older songs finished the set, ‘Nobody’ and ‘Time Comes in Roses’. The crowd, who had been engaged all evening, were at their best here: looking around almost everyone was singing and so many people were clearly moved and were clinging on to each other. A magical finale.
Atwell’s great performance was supported by a couple of excellent acts. First up was Pem. Pem (Emily Perry) is from Berkshire and has an amazing voice which can sound almost like the definition of ethereal at one moment and then suddenly break into husky, earthly growl. Pem treated the audience to seven songs, including the very moving ‘Gulls’ – a song dedicated to her father, who was a dedicated birdwatcher. Indeed, a gentle aquatic motif ran through Pem’s set, with ocean sounds recurring across several songs.
Next up was Sophie May – a singer who managed to forge an immediate bond with the audience. She had such a presence on stage and brought an emotional sincerity, both in her songs and in her wonderful communication with the audience. Sometimes May was funny, especially when talking about her obsession with Brian Cox, and sometimes very moving: she spoke authentically and movingly about mental health. Musically, May showcased some really good songs including the excellent ‘Tiny Dictator’.
Overall, it was a great evening in London. Atwell has developed a real presence on stage and is supported by a back catalogue of excellent songs. It was also lovely to meet some of Atwell’s friends – clearly proud of her performance and enjoying the night just as much as the rest of us.
