Review: Hayes Carll, Tunnels

With a name like hers, one would think Roxanne de Bastion was a long forgotten femme fatale from a James Bond film, and given her classy sixties style it would feature Sean Connery. She is however a singer / songwriter, London based but born and raised in Berlin. Her songs are well crafted and sung with a crystal clear voice free from affectation, ignoring the tropes of folk and country that lesser singers turn in to clichés; delivering her lyrics with clarity and precision. Lyrics that touched on the issues of the day (new tune Run referenced bigotry and immigration via her own family) as well as more personal matters (Some Kind of Creature an introspective tune that would resonate with many in these times of uncertainty and upheaval). Although her own material is strong, de Bastion also delivered a mesmerising acapella cover of Regina Spektor’s Baobabs (apparently the piano would have been awkward on the Megabus) to the delight of the crowd.

Whilst there are plenty of singers stood behind a mic with just their acoustic and a bag of introspective & wry tunes, de Bastion stands out because of her warm and engaging presence. Her demeanour is incredibly assured and friendly with none of the fake sincerity employed by many artists: normally a support act requesting a singalong is as welcome as a tax inspector chez Cameron, however, de Bastion managed to get a raucous two and half minutes of singing from the crowd during rowdy finale Red and White Blood Cells, a tune that came over as Sandie Shaw doing an unplugged Ramones session.

Hayes Carll is an exceptional raconteur, laconic and dry; with great comic timing. His tales from the road (clearing a room of millionaires at a fund raiser in Wichita Falls); autobiographical stories (a regular solo gig in a seafood restaurant that evolved into child-minding for drunken customers) and unexpected merchandise misunderstandings (koozie might mean one thing in Texas but caused some tutting in England) were all hilarious. In fact they were entertaining enough that were his songs average one would still be tempted to go and see him for the banter alone. Fortunately his songs are far more than average and he played a warm set of originals with a smattering of covers to a packed Tunnels.

Carll has a warm laid back (almost lazy) singing style with an economical drawl that well suits his tales of lives lived a million miles away from the Kardashians and the Millionaire Matchmaker. He was joined by Mike Meadows on minimal but effective percussion, just a snare and a rather unique version of a Gumbe.  Carll claimed the reduced drum kit was due to the band selling bits off to fund the trip and that Meadows was using a mixture of kitchen implements and bric-a-brac to perform, reducing the drummer to stiches. Meadows provided subtle percussion on the quieter numbers and plenty of rock n roll oomph on the up-tempo rockers, as well as subtle vocal harmonies. (Incidentally Meadows co-designed the hybrid gumbe, which looked something like a Cajon designed by Habitat check out Swan Percussion).

John Queen provided both mournful pedal steel and some exquisite lead electric guitar, complementing the songs with unassuming yet crucial licks. Carl conducted Queen’s choice of instrument with a well drilled and sophisticated series of subtle hand gestures that he was happy to decipher for the crowd: essentially miming strumming when needing guitar or pointing at the pedal when required. Or not so sophisticated as he confessed to much laughter.

Carll’s new long player Lovers and Leavers featured prominently, along with tunes from his previous albums. KMAG YOYO was a highlight, the autobiographical Got a Gig hit home whilst Sake of the Song was a powerful evocation of song writing and performing. Mid-set Carll introduced a special guest and to the delight of the crowd Alison Moorer joined the band for a few tunes, her voice blending beautifully with Carll’s and no one would have been disappointed had she remained on set for the remainder of the show. The set flashed by on a tide of unruly bonhomie and concluded way too soon for the capacity crowd. The single encore was a boisterous She Left Me for Jesus, its sly humour and earworm of a chorus had the crowd grinning and singing from the first chorus as the band concluded a superb set.