It can a something of a cliché to describe to music gig in the back of a pub as a special and intimate event but this evening at The Castle on Oxford Street admirably deserved this accolade. Three very different female acts combined to create a very memorable night. The packed room probably contained more than about fifty people but both the lively atmosphere and the quality of the music gave the feel of a much bigger event.
The first act, Audrey’s Dance, hailing from Preston and comprising of a keyboard player and a vocalist, set the night off with impassioned, soulful tones backed by rich mellow piano, sounding almost as if Sinead O’Connor was singing to accompaniment from Kate Bush. Most of their songs were based around just two chords yet there was a sophistication which gave the music depth. Unfortunately, the words were not at all clear because of some issue with the microphone, which was a pity, with such quality Heart-felt singing, mirrored with physical actions.
Natalie McCool from Merseyside gave a very different performance, singing without her usual band to just an electric guitar and an occasional drum machine. The style of chord playing with some picking was reminiscent of early Chrissie Hind and the songs were well constructed and pleasant to listen to, with a heavy emphasis on chorus and reverb sounds. McCool was using the event to try out a new guitar which unfortunately let her down hallway through the set when the sound stopped but showing remarkable composure, the artist eventually just switched to another guitar (generously offered by Lyla Foy) and picked up the song as if nothing had happened; indeed, it was her best performance in the set!
Finally, the main act made the evening truly special. Singer, songwriter Amy Studt. Looking stylish in a flowing long white dress, with accompanist Lyla Foy in a similar dark green style, Studt began by explaining something of her past struggles following bi-polar diagnosis. This was in no way a plea for sympathy or rant about life but simply a very honest and humble way of giving the songs gravitas and real meaning. What followed was a very consummate performance in which the singing (going through several octaves) was as varied as the many styles of piano playing demonstrated and you have to look very hard to find songs that are more expressive. Studt used various personal issues ranging from the break-up of a serious relationship to a near-death experience in 2012 simply as background material as she took the audience with her on a journey from a very dark place to a situation which, if not perfect, has given her the confidence to release an album entitled ‘Happiest Girl In The Universe’.
Aside from Studt’s genuine artistry, credit must be given to her superb accompanist, Lyla Foy, who is a successful singer/songwriter in her own right. Together they provided a powerful and magical combination, including superb harmonies and to Foy singing on the off-beat, at times having an almost Celtic feel like Clannad; on other occasions, reminiscent of Fleetwood Mac. Foy’s subtle guitar playing (on a trusty old Fender) was excellent, including from occasional slide-lead, using the guitar as a bass instrument or just playing the odd complimentary chord. It would be rude not a mention that a percussionist, introduced simply as ‘John’ joined the duo on three songs, adding further depth to a very sophisticated and artistic set.
After several years out of the limelight, Amy Studt is back and she has a story to tell; a very accomplished artist and an excellent set of songs.
Reviewer - John Waterhouse
on - 3/12/19
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