Review: Tom Misch, Bristol Sounds 2019

Opening the Bristol Sounds series with that familiar surfer-rock opening sequence, Tom Misch is as comfortable in his vibrato as he is planted in between his band of master instrumentalists. It Runs Through Me echoed around the Lloyd’s Amphitheatre, which had become a sort of chamber of warmth and smiles the moment the mustard yellow and black starry backdrop began twinkling.

What is refreshing about Misch and his band (one bassist, a guitarist, one on keys and FX, a percussionist and two drummers) is that the music always feels like it comes first. Together, they’re a layered collective of sounds, each bouncing off the other and flourishing in long, winding breakdowns and improvised runs that sound too perfect to not have been practised. Of course, Misch’s vocals are bygone perfection, but it feels more of a secondary thought to the musicianship of the band, how they sound on stage and bend their instruments in new and exciting ways.

Bristol Sounds 2019 by Ania Shrimpton

It’s a refreshing change for the focus not to be just about the vocals, which is showcased none more so than in his second track of the night Losing My Way, originally recorded with multi-instrumentalist FKJ. His showmanship is subtle, and the melodies smooth as chocolate icing.

Throughout the set, as the sun started to dip behind the thick, grey clouds, Misch dipped in and out of his 2018 debut album Geography and older tracks, namely I Wish, taken from his 2016 EP Reverie. “When you go, you go, you go / I’m a sunless sky” the crowd whispered to one another; each pocket of friends, lovers, fathers and their sons, turned and held each other as we swayed to the delectable lo-fi soul tones. Much like every track in his arsenal, I Wish fell into a goosebump-inducing jazz and blues-infused interlude fit for your children’s bedtime story or a cosy night in with your other half. His sound is cross-generational and fitting for, well, pretty much any occasion.

Tom Misch, Yussuf Dayes and the band by Ania Shrimpton

Everybody Get Down kicked off the surprise appearances on stage, with the welcomed addition of Kaidi Akinnibi on the saxophone. The silky textures from the sax perfectly complimented the duo of drummers and the wildly impressive live percussion (a special mention must go here to the epic triangle/cowbell breakdown). Just as the crowd had taken a breath, none other than Londoner Loyle Carner rocked up on stage for a slick rendition of one of Misch’s most well-known songs Water Baby. Screams of “Loyle Carner, oh my god!” rang out through the crowd as they rose and fell at the whim of the dynamic duo on stage in front of them. Misch and Carner but twitched their arms and the crowd were with them – swinging their arms from side to side above their heads.

Surprise guest Loyle Carner by Bristol Sounds

Loyle Carner’s appearance gave Misch’s entire set that extra edge it needed, of which the latter half fell into a deep, bedroom jamming session where Misch seemed to totally forget about the thousands-strong crowd in front of him. It was like walking into a garage band practice session gone right; listening to languid riffs, twinkling keys melodies and watching Tom Misch as he took on the Jools Holland role of celebrating each of his band member’s musicianship as individuals.

Lost in Paris sent us off on our merry way. It was the perfect, warm hug of an ending to a gig that filled the soul to the brim.

Read More: Review: Jeffrey Lewis and Les Bolts, Exchange