Music / Reviews
Review: Sober Spaces, The Forge – ‘A focus on the curative ability of art’
The remedial effect of artistic expression is perhaps its highest purpose. Bristol Sober Spaces is an event that focuses more squarely on the curative ability of art than any other I’ve attended.
Whilst sobriety is, for many of those involved – from attendees to performers – a saving grace from the perils of addiction, the creative team is clear that Sober Spaces is open to absolutely anybody who fancies a good night out without the hangover.
Sophie Wilsdon of Bristol Drugs Project has been instrumental in Sober Spaces and countless similar initiatives, and deserves enormous credit.
is needed now More than ever
Staged against the stylish and calming context of The Forge – a venue understandably often booked for weddings – Bristol Sober Spaces comprised three headline musical acts.
First to the stage was Wizz, a musician whose performances at Sober Spaces’ Open Mic Night had caught the attention of the organisers and secured her a headline slot.
Aided by an acoustic guitar, Wizz told in mellifluous melody her story so far. Wizz – just about overflowing with the je ne sais quoi you’d want in a singer-songwriter – writes tenderly and sings stunningly well.
Next up was Reverb, a voice and harp duo who traversed and blended genre to bring us thoughtful pieces about environmentalism. Fresh from HS2 protest, their work was evocative and novel.
The final act was Rosina Buck, launching her new album. Rosina’s performance was full of charm and joy, she writes movingly about her life with a conversational lyrical style reminiscent of T. Rex.
Here’s an artist who’s managed the difficult task of bringing into harmony their feeling and their music, turning songwriting into an act of pure translation. Rosina’s spirit, story, music and lyrics appear as one triumphant smile.
Main photo: Tom Dewey
Read next:
- Review: Ben Folds, The Forum – ‘A celebration of heart-squeezing joy’
- Review: Trials of Cato, The Jam Jar – ‘A pefect mashup of pop and folk’
- Review: Lizzie Esau, The Louisiana – ‘Pleasureable bopability’
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