Review: Laura Marling, Thekla

Anyone expecting fey, folksiness from Laura Marling at this intimate show at the Thekla on Saturday was in for a rude awakening.  Starting the show with two new songs which were stylistically reminiscent of the swampy-blues-rock of early PJ Harvey, Marling set the tone for a gig which showcased her maturing and reinvention as an artist.

Sometimes when folk artists decide to ‘go electric’ it simply doesn’t work or their audience don’t accept it. Even Dylan disappointed some fans back in the Sixties when he debuted his new electric sound, the audience at the Newport Festival booed and the Manchester FreeTrade Hall gig was where he received the infamous ‘Judas’ heckle . However, Marling’s respectful audience of serious fans greeted her new direction and gutsier sound rapturously.

She didn’t entirely leave her folk past behind, Devils’ Spoke, Warrior and Master Hunter retained the peculiarly English charm for which she is renowned. Yet the faster tempo of older material such as ‘Salinas’ and adding electric guitar gave these well-loved songs a new and more exciting dimension. 

Marling’s increased confidence was apparent throughout the gig.  At her gigs in the past there was little or no engagement or banter between songs with the crowd. This gig saw Marling actually talk to and respond to her audience. Notably when someone bellowed “Fucking tune” early in the set and she instantly responded: “Ah, my mother’s here”. Perhaps not Wildean repartee but it was something.

Of course there is nothing wrong with letting your music speak for you and Laura Marling’s music is strong enough to do that but it added to the intimate, personal ambience of her performance that she was relaxed and confident enough to chat between songs.

Perhaps one of the reasons for Marling’s increased confidence was the outstanding musicianship of the drummer and bassist on stage with her. They switched between jazz inflected shuffles to funkier grooves to Americana to rock and folk subtly and with consummate ease throughout the set and framed Marling’s lyrics and melodies perfectly.

Marling may have taken a new musical direction but that is not all, her lyrics have a harder, more cynical and sarcastic edge especially when dealing with relationships. Although like the aforementioned PJ Harvey she appears to adopt personae for the songs and you wonder if she is singing about a real or imagined heartbreak. Sometimes the personae work brilliantly, sometimes you wonder why she sounds like mid-career Joni Mitchell or when speaking lyrics like the US artist Laurie Anderson. It was a little disconcerting but not wholly unenjoyable.

This was a genuinely excellent gig and one which could easily reveal to naysayers what all the fuss has been about.