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Sufjan Stevens/ Aberfeldy
London, Bush Hall
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Article
written by Ged M
Jun 15, 2004.
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Aberfeldy are the latest in a series of Caledonian bands playing soulful pop, part of a lineage from Orange Juice via Aztec Camera to Belle and Sebastian (especially on ‘A Friend Like You’) but the clearest influence seems to be the not-quite-Caledonian Prefab Sprout. They’re a five-piece from Edinburgh who play beautifully crafted songs written by their frontman Riley Briggs. ‘Sulky Girl’ is an orchestral pop contraption in best Sprout fashion, with its glockenspiel and plucked violin strings demonstrating that Aberfeldy are more than just Riley Briggs plus 4 sessioneers. The single ‘Vegetarian Restaurant’ demonstrates their folky pop sensibilities and Riley Briggs’ occasional Paddy McAloon-ish falsetto but the potential singles ‘Love is An Arrow’ and ‘Heliopolis’ show even more promise, both bright and shiny and perfect for hazy summer days. If the single isn’t a good indicator of what they’re capable of; wait for the ‘Young Forever’ album and swoon.
For someone who appears so uncomfortable on stage, Sufjan Stevens wins the hearts of everyone in a packed and steamy Bush Hall. He warms us up with a Sufjan-ed version of ‘The One I Love’, transforming the REM song into something delicate and spectral. Once he’s joined by his band, he plays songs from ‘Seven Swans’ and, particularly, ‘Michigan’. The projection of a hand drawn map with key towns identified, together with lovely stories behind his songs, locates each one in a geographic, personal place in his time and his space. What becomes clear is that while his songs are mythical and magical, they’re based on truth; no Great Truth but just the plain and simple verities of life, in all its everyday, surreal magnificence.
Live, his songs are even richer. As he describes how a song was inspired by Hell, Romulus, Traverse City, Holland or Pickerel Lake, and uses his slides to help us understand the protective effect of the Great Lakes and the mystical power of the 45th parallel, you’re transported there in the same way that a great book or film sucks you in. Live, you’re more aware of the simplicity of the instrumentation on the lovely ‘For the Mothers in Paradise, for the Fathers in Ypsilanti’ and the gentle power of the voices of backing singers Sarah and Priya on the ethereal ‘Sister’, on which Sufjan’s tremulous voice cracks with passion. ‘Seven Swans’ is introduced humorously yet develops into a huge hymn of Revelation while ‘Size Too Small’ is funny and heartbreaking at the same time.
While never losing his awkwardness (the messy introductions, made only after the last song, prove that), he opens up in the most charming and engaging way and his rich and beautiful songs flower in sequence like a summer show garden. There isn’t a duff song or a slow moment in the show, despite its lack of rock’n’roll signifiers. The show doesn’t really end; his songs have been playing on my internal jukebox on constant repeat since Thursday. Pray he gets over his dislike of the touring life because you won’t see anything as wonderful again. My gig of the year, without question.
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