Anna Calvi Anna Calvi Rar

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Anna Calvi O2 Ritz Manchester The prospect of seeing Anna Calvi live in the dark, hot depths of Manchester’s O2 Ritz had me excited. After all, this arresting musician – with her third album ‘Hunter’ released earlier this year and reviewed – strokes and stokes transgressive, turbulent themes; her latest work lashing against gender confines and portraying a bold ‘hunter’ rather than the ‘hunted’. Desire, seduction, want, power and passion all seep through in shades of red and black. As well as the exploratory quality of her music, the prospect of Anna Calvi live also offers opportunity to see her deft instrumental talent – with Calvi not only an expressive guitarist capable of pushing the strings to peals of emotion, but crafting her voice to a soaring, spiralling instrument in its own right. And considering that the Hunter album – her first in five years – encounters the prospect of pushing back gender roles, jumping into different identities and encouraging self-expression rather than condemnation, I was interested to see how this would be articulated in a live set.

The sense of intrigue was kept on high, as rather than opening with a bustle of guest bands, instead there was a DJ set from the local Thirsty Girls Collective. Serving up a series of shimmering tunes, many with a mysterious edge, this was an arrangement which worked well, the mood in the room stoked and hungry. Then Anna entered – guitar firmly in hand. With deft, deliberately paced strokes she sent bolts of sound smack into the audience opening with a solo in a rather unexpected format. There was already something bristling in her delivery, as if telling of pent-up passions which for this evening, we were going to be privy to.

Goodbye radio-ready format and welcome a streak of wildness. The solo ebbed and flowed for minutes, before then surging into the track ‘Rider’ – a piece of billowing bitter sweetness underlining the themes of much of Calvi’s new album; realisation and recognition of the potential fluidity of identity. Sacrifice and simultaneous change. What was particularly underlined in this opening track was the amplified articulacy of her voice, her range tremendous yet always resonant, allowing every word to work with the music and into the ear. Operatic, even. The ability to reflect on this was enabled by the carefully-synchronised instrumentation otherwise – and looking around the stage, I was struck that there were only three planned spaces: one for Anna, a loaded series of drums and a large percussion area. Exter t100 software.

Forget multiple guitarists adding weight, Anna Calvi’s gigs give force from just three live musicians. Indeed, the only other musicians who accompanied Anna during her set was a drummer (the powerful Alex Thomas) and multi-instrumentalist (the utterly impressive Mally Harpaz) – but this arrangement seemed to add to the sensuous, striking force of the music. C program round robin operating systems. Both musicians bent and swayed, following Anna’s movements, a prowling kind of chemistry between all three. Their combined craft stalked the stage, with the breadth of drums and percussion in use underlining the tactile, raw-powered nature of Calvi’s latest material. Testament to this force was another track early in the set, ‘Indies or Paradise’ – the drumbeat utterly pounding, yet Calvi’s sashaying vocals always so well synchronised, still managing to strike above. It seemed to underline the power of hot human expression, something which very much stands out on the ‘Hunter’ album and emphasizes it as a kind of departure from Calvi’s earlier, perhaps more cautiously polished work. Instead, ‘Hunter’ hangs up caution and cuts it open to bleed – and the live version of the album’s title track seemed to do just that, dripping with internal desire as Calvi’s voice commanded the room over a haunting beat provided by recorded breaths.