Live Review: James Blake @ the Manchester Gorilla

Pic: Maanik Chadda, James Blake

Manchester Gorilla, UK - 06/12/12

James Blake treated an intimate Manchester crowd to intriguing new material and highlights from his self-titled debut album.

The sell-out crowd saw a steady, balanced set with moments of sadness and joy through Blake's spine-tingling falsetto voice and majestic use of his synths and keys.

He opened with dubstep bass-heavy track Air And Lack Thereof with a slick, addictive snare drum beat.

The haunting repeated lyrics in I Never Learnt To Share work with the extremely distorted synths to combust in a mind-blowing explosion of musical ecstasy.

Popular Feist cover, Limit To Your Love, soon follows to put the audience in a head-nodding state of contentment.

The beautiful Lindisfarne duo gelled elegantly along with Blake's effortless vocals, repeated drum beat and distorted guitar riff.

All senses are go when a James Blake fan hears the opening notes to CMYK. The R&B dance favourite samples the simple lyrics 'look I found her red coat' to lift the crowd into a gentle dubstep sway.

Engaging new songs were well received but they failed to challenge his past masterpieces.

The encore began with a build up to a perfectly sustained garage-influenced dubstep mix.

The Londoner ended confidently with strongest album track The Wilhelm Scream to provide the ideal climax to a blissful evening.

Blake's warm-up act, Lone, was pleasant, relaxing and distinctly average throughout. Uplifting at times, Matt Cutler's repetitive blend of drum and bass, 90s new rave and 80s synths was suitable background music to prepare for the real thing.

Although Blake may not have met the incredibly high standards of his studio recordings live, he has still proved that he can captivate an enchanted crowd on a cold December night.

The set list is below:

Air And Lack Thereof
I Never Learnt To Share
Our Dog Comes Back
Limit To Your Love
Lindisfarne
Over-Come
CMYK
Everyday I Ran Around The Park
(We're Going) To The Pub
Klavierwerke
Retro Clothes Shop
The Wilhelm Scream

Live Review: The Temper Trap @ KOKO, Camden

The Temper Trap frontman, Dougy Mandagi. Pic: pamhule

KOKO, Camden, London, UK - 22/05/12

Thrashing melodic sounds combined with political meaning attempted to suggest there's more to The Temper Trap than just a sweet pop song once loved by so many before its repetition and demise.

The Australian London-based band summed up last summer's riots with a blood red stage and a classic 90s chorus outburst in London's Burning.

Average first single Need Your Love, opener from the self-titled album released yesterday, provided a familiar guitar riff and too simple a sound, failing to compare to debut Conditions opener Love Lost. This track followed to much delight from an aroused audience who played along to the addictive clapping rhythm.

Although new album fillers Miracle and Rabbit Hole were pleasant, they never reached the heights of Down River. The passion poured out of Jonathon Aherne's acoustic guitar as frontman Dougy Mandagi paraded the stage shouting 'Don't stop!'

Trembling Hands asks us to throw Dougy a line and it seems like he may need the support as the dull chorus is fairly uninspiring.

Thankfully the addictive guitar riff of Science of Fear was not far away and the first of a trio of song highlights soon mesmerised. The breakdown during the track was perfect before a captivating build-up culminated in a grateful applause.

Resurrection quickly followed to keep up the momentum and a superb crashing down with the drums taking poll position was well executed.

The instrumental Drum Song closed a pre-encore set in extravagant style as the band gave it their all and Dougy caught our eye by cheekily pouring water on his personal cymbal before rashly smashing down.

The group returned with the bewitching Soldier On before a dreary new album track disappointingly prepared us for the climax of the evening.

Sweet Disposition met all expectations and the crowd were certainly satisfied trying to reach Dougy's falsetto wonders.

Unexpected 'oldies' were the joys of the night as the new album falls short of any positive comparisons.

Below is the video for The Temper Trap's Trembling Hands:

               

Album Review: Jim McShee - The Coffin Nail

UK Release: 11/02/12 - Independent

Smooth old Jim McShee is taking the town of Stoke-on-Trent by the scruff of the neck and instilling them with the sounds of modern country blues. The Coffin Nail EP is an easily accessible six-tracker expressing classic early 20^th century American guitar playing and husky lyrics. If blues is your thing or you fancy some feel good listening, the twenty-year-old might just be what you're looking for.

Hand-tapping opener 'Slaughter Hill' sets you in place perfectly to know what to expect. The opening trio of guitar notes sink you into the repetitive riff before the typical lyrics of lonesome journeys commence. Although it fails to provide a climactic moment, the simple pleasantness aimlessly rolls on by successfully uninterrupted.

Empathy is felt from the pain in the sombre words of 'I welcome death so gratefully' and 'hell is a place I would rather be'. The depressing motion of death is welcomed in a habitual manner. McShee again uses a simplistic riff to focus our attention to the agonising lyrics in 'Good Old Days Gone By'. The unchanged tempo implies a contentment and acceptance of his lyrics.

Courtesy of Jim McShee, The Coffin Nail EP

McShee's 'Helping Hand' and 'Oh Faithful' seem to lack the emotional substance and texture the remainder of the EP possesses. The two tracks have proven it difficult to maintain a consistent strength across a piece of work which uses minimal instrumentation to keep the listener from falling away.

The staccato strum downs in 'Bloody Knuckle Blues' help provide a memorable line with 'one punch, two punch, three punch, four' in the catchy chorus. The rough vocals contrast well with the clean-cut, head-nodding strumming.

A gravely American-twinged McShee closes with 'The Coffin Nail Blues'. And how could we have a country inspired EP without some religious references? 'And now the church bells ring / and the choirs sing' opens the final track where the running theme of 'a coffin nail' is put to bed. He tells that 'the closest thing to love that I ever did see / is that coffin nail drive a hole through me'. He speaks of regret and sorrow to sum up a lyrically dark EP. The hidden track has the final say, implementing a positive and hopeful feel about the relationship between a man and a woman. The cycle continues...

Rating: 6/10

Below is the track listing for The Coffin Nail:

1. Slaughter Hill
2. Good Old Days Gone By
3. Helping Hand
4. Oh Faithful
5. Bloody Knuckle Blues
6. The Coffin Nail Blues

You can buy Jim McShee's The Coffin Nail from iTunes now.

Below is the Studio Diary for the EP:

February Review 2012

Courtesy of starbright31, Bon Iver

Best Artists

Bon Iver

Dog Is Dead

Proud Proud People

Aaron Mobberley

Cult Party

 

Courtesy of The Sugarmill, Fiction

 Best Songs

Bon Iver - Skinny Love

Aaron Mobberley - Crayons

Fiction - Big Things

Dog Is Dead - Young

Bon Iver - Perth

Proud Proud People - The Quiet Area

Dog Is Dead - Glockenspiel Song

Courtesy of Proud Proud People, Proud Proud People

Bon Iver - Holocene

Aaron Mobberley - Looking For

Proud Proud People - Pinjo

Dog Is Dead - River Jordan

Best Album

Bon Iver - Bon Iver

Proud Proud People - The Sky Suspended

UK Release: 13/02/12 - Butter Bridge Records

Courtesy of Proud Proud People, Album artwork

The eerie keyboard riff layered with the unexpected timing of the backing electric guitar opens for a grand entrance into the world of Proud Proud People. Unlike The Polyphonic Spree's 'Light & Day' similar opening guitar riff, 'The Quiet Area' increases its volume build-up with pace and busy instrumentation. Perfectly timed pauses within the songs allow for an appreciation of each chord and tempo change. After the addictive running riff in my top left I am told to 'keep the noise down / there are kids asleep', at which point, although everything becomes so much more, it's never enough to wake them. The high tempo continues and it naturally ends in a short, repetitive burst of staccato brass.

Although a short track, the catchy chorus of 'Optimus Prime' throws you straight into the mix with clear Snow Patrol influences. The increased pace in the instrumental brass and drums shows PPP's unique element to their work.

Immediately, 'Pinjo' drops you into a simple, familiar riff which, at first, may seem too easily accessible. However, Michael Clay's trumpet is key in providing something extra. Elbow's Guy Garvey is heard in Andy Cargill's effortless vocals. The gravelly, dominating voice parallels the echoed 'I'm winning', alongside the Indie rock out.

'Ark' brings us back to reality and doesn't create enough impact following three strong tracks. The final result of the overlapping repeated 'ride with me' drone, haunting church-like backing, and the odd trumpet, fail to provide a climactic point to the song making it feel as if it is no more than in the background. The dying brass finale reminds of Kid A's 'The National Anthem', but lacks the passion.

Final track 'Dornfelder' provides a successful end to a pleasant self-proclaimed 'apocalyptic post-folk with a touch of math-brass' EP. The structure of the instrumentation proves vital in the built-up to the climax of the final layering, of the percussion and brass, in particular.

Proud Proud People's latest release is Sandbach's finest and it is clear there is still potential yet to be unleashed. More variety from the lead vocals would contribute greatly as there is little time when they are being stretched or when they become the focus. Nonetheless, highlights 'Optimus Prime' and 'Pinjo' shone through to show an improvement on 2010's Festival For Forest Animals.

Rating: 7/10

Proud Proud People - The Sky Suspended

1. The Quiet Area
2. Optimus Prime
3. Pinjo
4. Ark
5. Dornfelder

Buy the EP on Bandcamp and find out more about Proud Proud People on their offiical website or Facebook.

See Proud Proud People at Manchester's Kraak on Saturday 18th February. Find out more here.

Below is a live recording of Proud Proud People's version of Drake and Rihanna's 'Take Care' on BBC Introducing from Stoke:

January Review 2012

Fig1: Courtesy of laviddichterman, James Blake - January star man

Here's a little review of what I've been listening to and reviewing over the past month. 

Below I've listed some of my top albums and top singles of January which haven't necessarily been released this year but have been my favourite listens recently. 

Please let me know what you think and don't hesitate to leave your own opinions!

And don't forget to join the blog, it's so quick to do and it would be great to know who's following and how many people are reading!

                                  Top 10* Songs 

Fig2: Courtesy of sterno_inferno, tUnE-yArDs

James Blake - I Never Learnt to Share

Cults - Abducted

tUnE-yArDs - Gangsta

Foster the People - Pumped Up Kicks

Fleet Foxes - The Shrine/An Argument

James Blake - Unluck

Regina Spektor - Hero

James Blake - The Wilhem Scream

Tyler, The Creator - Yonkers

 Azealia Banks - 212

    *Youth Lagoon - Cannons (couldn't get it down to 10!)

Fig3: Courtesy of scannerfm_flickr, Fleet Foxes

Top 3 Albums

James Blake - James Blake

Fleet Foxes -  Helplessness Blues

tUnE-yArDS - W H O K I L L

My Brightest Diamond - All Things Will Unwind

My Brightest Diamond, "High Low Middle" by asthmatickitty

UK Release: 10/10/11 - Asthmatic Kitty

Courtesy of djenvert, Shara Worden

Shara Worden's majestic My Brightest Diamond is a delightful find for a true folky. All Things WIll Unwind is a beautiful collaboration with yMusic and drummer Brian Wolfe, proving the impact chamber-folk truly can produce. She expresses her Joanna Newsom-esque composing and use of orchestration stunningly in her third album.

Originally based in New York, Worden moved back home to Detroit with her new-born baby to write another much anticipated album. The album 'addresses the juxtaposition of life and death, class and race, pantries and politics—as heard through the mesmerizing lullaby of a new mother.' (Offical Website Bio)

Worden is no stranger to the musical world being daughter to a National Accordian Champion father and organist mother. Bon Iver's Justin Vernon, The Decemberists; whom she has supported on tour, and Sufjan Stevens are all friends and fans. The latter became extremely influential as she supported him on tour and performed as part of Sufjan Stevens and the Illinoise Makers. Signed to his label, Asthmatic Kitty, she was ready to wow the world with her own captivating persona.

Pleasant opener 'We Added It Up' is the perfect introduction to the politically heavy LP with lyric 'Love blinds the world' written during a global economy crisis. A plucky acoustic guitar sets the ambient tone for the disagreeing lyrics. The slow build-up of 'Be Brave' beginning with the muted drum beat escalates into a realisation and attempt at convincing herself to 'be brave dear one'.

The soft whisper of her name; 'Sh-sh-sh-sh-sh-shara / This is going to hurt' haunts and contrasts brilliantly with the loud impact of the heavy instrumentation. 'There's a Rat' may sound cartoony but what underlies are the descriptions of reactions towards bankers and the deprived ecomony; 'I'm gonna treat you like the mouse that you are'. Upbeat follower 'High Low Middle' uses the instruments to emphasise Worden's advise, culminating in a sensationally casual trumpet dance.

Courtesy of michel-dhersin, Shara Worden

The arrangements work around the dominant vocals wonderfully, often focusing on the words and the instrumentation at their own required times. When the two collide it forms a great mutual connection where a call and response-like communication becomes crucial.

Although this strong, well-arranged record, bringing out the political highs and lows and experiences of Worden's past year is forceful, as a passionate Joanna Newsom follower, I feel Worden is unable to overstep the line between sheer talent and pure genius. Nevertheless, All Things Will Unwind is certainly a powerful listen and well worth every minute of your time.

Rating: 7/10

Find out more about My Brightest Diamond at the official website here.

Check out My Brightest Diamond's 'Be Brave' below:

tUnE-yArDs - w h o k i l l s

Tune-Yards - Gangsta by The Recommender

Courtesy of sterno_inferno, Merrill Garbus

UK Release: 19/04/11 - 4AD Records

The experimental solo act tUnE-yArDs is the creation of the surreal, memorable, neon face-paint wearing Merrill Garbus. An intriguing artist who may require some patience for listening, Garbus lets you into her mystical world which isn't necessarily as joyous and carefree as it may first appear.

The New England inspiration released her anticipated follow-up to her entirely dictaphone-recorded debut BiRd-BrAiNs last Spring. Great pressure loomed over Garbus to live up to her heart-warming first full release. Its cosy atmosphere was taken in by many; so she suprised, but still delighted, with her more upbeat and genre-expanding w h o k i l l s. Initially attempting to record again on a dictaphone, Garbus struggled to find the appropriate sound so off to the studio she went.

Her enigmatic lo-fi use of drum loops, vocals and ukelele soon combined with funky guitar riffs, synths, brass, and a new band member. Album-crossover-defining bassist Nate Brenner was pivotal in providing a heavier, more complete sound. With a crowd of instruments often used at any one time, the bass proved to be the backbone of the record.

A quick drum loop entices you into the album with 'My Country' where Garbus expresses her doubts over her future with the US. Her overlapping monkey-like noises, shouted vocals, upbeat percussion and overpowering synths create a powerful jungle-like feel as the various vocal panning gives the impression of numerous animals expressing their views.

The funky guitar and drums play their part to a soulful mix of soft vocals of conversation, with discordant sounds emphasising the laid-backness approach to the song. The siren-into-drum-loop opening for 'Gangsta' seems to relatively simple, however, the distorted synths of sirens scream out the treacherous, stimulating life of the 'Gangsta'. The pause for drum smashing outbreaks releases the aimless gunshots and violence contrasting to the faint, happy voices of the family.

'Powa', a relaxed, reggae inspired track has vocals that seem to resonate those of Sting. Garbus describes her unusual dream of making love to the policeman who had arrested her brother in 'Riotriot'. Her extraordinary use of range continues as the gradual build-up of sounds eventually climax with a 'riot' explosion of noise frenzy. A lyric towards the end defines the no-longer-virgin rioter; 'There is a freedom in violence that I don't understand / And like I've never felt before'.

Courtesy of sterno_inferno, Merrill Garbus

The hypnotic layers beginning 'Bizness' enchant and becomes intensified when Garbus screams her plead; 'Don't take my life away'. The pandemonium of sounds is complete once the brass make their voices heard; it's difficult for your ears not to remain captivated.

'Doorstep' is soft and comforting with light harmonised vocals and easy percussion rhythms. Tempo changes with funky-rhythmed 'You Yes You' and care-free reassuring lyrics; 'Now that everything is gonna' be okay'. Haunting lullaby 'Wooly Wolly Gong' proves shouting is not always needed as she utilises her highly-pitched vocals beautifully. Perhaps the most abstract track is album closer 'Killa' where a carnival of up-tempo sounds and M.I.A.-style vocals rightly end a generally upbeat and optimistic LP.

w h o k i l l s certainly mesmerizes with moments but it needs time and concentration to be truly appreciated. With tUnE-yArDs touring the world this year it may be time to see how the unique compositions are represented on stage.

Rating: 8/10

Visit tUnE-yArDs' official website here.

James Blake - James Blake

James Blake - Limit to Your Love by Mystic Music Garden

UK Release: 07/02/11 - R&S Records

Courtesy of laviddichterman, James Blake

James Blake's magnificent self-titled debut took 2011 by storm as he exceeded expectations after becoming runner-up for BBC's Sound of 2011, only to somehow miss out to Jessie J...

The 23-year-old gradually made his way onto the scene through DJ sets at his former Goldsmith University, where he studied Popular music along with, coincidentally, Jessie J. He started primarily as a dubstep DJ, remixing other musicians' tracks with his own unique take on the ever-growing dubstep scene. Blake's music is so hard to define within a genre that I don't believe it needs to be classified. His intriguing sound leaves people open for their own interpretation, thus attracting an unlikely large following of listeners.

Playing the piano and singing since a very early age, Blake was soon a classically trained pianist in his teens. With the likes of Bonnie 'Prince' Billy and his all-time favourite, Stevie Wonder, (BBC Music) played regularly while growing up, influences were often heavily drawn. His musician father has shown to be a true inspiration to the young man's career. His more recent influences include the likes of Bon Iver and The xx, who have proven you can sound weird and exciting and still prove yourself to millions. 

His three 2010 EPs; The Bells Sketch, CMYK, and Klavierwerke, proved vital in establishing the crossover between using the beats and the music and his own voice. It took until the LP recordings for Blake to seem completely comfortable providing his vocals to a track. All the vocals featured in James Blake are his own; who'd have thought they would be so crucial and feature so prominently in the 'dubstep' artist's debut?

The album's opener 'Unluck' has become increasingly addictive resulting in becoming one of my favourite openings for an album. It consists of a simple piano riff layered with a skitty skatty drum loop and adapted, harmonized vocals, with the perfection complete by the rise of the distorted synths halfway through.

Courtesy of NRK P3, James Blake

The build-up of the effects on 'The Wilhem Scream' eject a sense of freedom and escape, however, as the lyric 'I don't know about my dreams' suggests, the unsureness proves too powerful, resulting in a sudden stop to the music and perhaps to the dreams.

The cold harmonized repetition of 'My brother and my sister don't speak to me / but I don't blame them' is all that needs to be said in 'I Never Learnt To Share'. The slow increase in the tempo of the added beat, drums and distorted synths result in a moment of pure ecstasy rarely encountered. Having the volume at full, through a perfect sound system, from 3:30 in the song, is an unforgettabe musical experience.

We are almost brought back to earth with the two 'Lindisfarne' tracks where the first is a pure vocal preparation for the following which includes a soft drum beat variation. Track six is the Feist cover 'Limit To Your Love' which had much of the music scene in awe of what more was to come on the album. Soulful harmonies, a repetitive piano riff and a sexy percussion beat combine to make a beautiful and accessible breakthrough.

'Give Me My Month' is a comforting Antony & The Johnsons-like ballad; a reminder of Blake's human stature. Don't worry, surrealism is not far away as the vocal shift patterns and jumping vocals in 'To Care (Like You)' work wonderfully alongside the use of his pauses and later, his up-tempo drum loop. 'I Mind''s one-off structure is intriguing and the later dominating background noise becomes unforgettable. The closing gospel-inspired 'Measurements' is a fitting end to the album; heavily focusing on his delightful vocal harmonies and silences.

There is so much more to come from Blake. Whether it be more dubstep remixes of tracks such as Lil Wayne's 'A Milli' or Snoop Dogg's 'Drop It Like It's Hot', or his own eccentric harmonised vocals and twisted melodies, I can't wait.

Rating: 9/10

Be sure to check out more about James Blake here and to give him a further listen on the player above!

Below is the captivating video for James Blake's 'The Wilhem Scream':

Fleet Foxes - Helplessness Blues

UK Release: 03/05/11 - Bella Union

Going platinum in the UK has been a real challenge for artists not sucked in by the Cowell machine, but little-known Seattle folk outfit Fleet Foxes managed it no problem with their outstanding self-titled debut. Following such a success is always going to take time and inspiration which isn't always easy to come by, which is why we are so grateful they didn't rush and delayed their release until the spring of 2011. Helplessness Blues has proven that Fleet are no one-trick-ponies as their momentous reviews of their debut spurred them on to produce a follow-up worthy of savouring for years to come.

With an intention to make the record "less poppy" (Pitchfork), frontman Robin Pecknold warned it may bore people. He never needed to doubt himself; although slightly less upbeat, we were gifted with the genius of the 8-minute 'The Shrine / An Argument' and album closer 'Grown Ocean'. Fleet Foxes express more than just their beautiful vocal harmonies and drowsy, optimistic guitars; Pecknold's unique ways of composition to control our emotions are put to perfection in the former of these tracks.

Courtesy of scannerfm_flickr, Fleet Foxes lead, Robin Pecknold

Troubles in the build-up of an album always occur and the stress was too much for Pecknold's girlfriend of five years. He became obsessed. However, upon hearing the final outcome she understood it was all worth it and gave them another chance (Contact Music). I agree; it seems ridiculous to let talent like his leave your life after he delivers such magnificent results!

Although still waiting to see the band in action, I had the pleasure of a solo set by Pecknold supporting the glorious Joanna Newsom at Portland's Aladdin Theatre. We were treated to Helplessness Blues tasters 'Tripolee' (which later become 'The Shrine / An Argument'), and 'Blue Spotted Tail' amongst others as a fitting preview. Fairly unaware of his talents at the time, I was sure to keep his work on my radar.

Fleet have inspired with their elegant and educated stunning second album, and it will only become more challenging as the expectations rise again.

Rating: 8/10

Visit Fleet Foxes' official site here.

Please use the music player at the top of the screen for more Fleet Foxes tracks!

Below is the intriguing animated music video made by Sean Pecknold (Robin Pecknold's brother) for the song 'The Shrine / An Argument':

Cults - Cults

Cults - Abducted by cultscultscults
 

UK Release: 07/06/11 - Columbia Records / In The Name Of

Courtesy of Man Alive!, Cults

Madeline Follin and Brian Oblivion form the intriguing indie pop duo Cults. The couple dropped out of New York School in 2010 to create their unique but ever familiar sound of 1960s girl group with a 21st century chilling buzz.

The Manhattan band released their debut album last summer to much acclaim after a few unreleased songs posted online for friends caught the ears of others. They weren't oblivious to the music scene, however, as Brian had previously tour-managed Madeline's brother's band Willowz, and she herself had received a recording contract at the tender age of nine thanks to links through her art dealer mother and local musician step-dad.

Information on Cults was hard to come by as they did very little to promote themselves, doing well to stay out of the public eye. Nevertheless, tracks like 'Go Outside' propelled their popularity to stretch across the waters. The teenage naiveties of their lyrics complement the simple yet intricately thought and adult compositions. However, they will know there is only so much they can do with their style so it will be interesting to see how they can make themselves truly blossom.

Rating: 7/10

Find out more here at their official website!

Please use the music player at the top of the screen for more Cults tracks!

Below is the powerfully historical referencing music video for 'Go Outside' by Cults: 

Youth Lagoon - The Year of Hibernation

Cannons by Youth Lagoon

UK release: 24/10/11 - Lefse Records

Courtesy of mikekatzif, Youth Lagoon

The rightfully optimistic debut album released by 22-year-old Trevor Powers last autumn will send a warm, comforting chill all over your body. It may take a while for its genius to sink in but when it does it truly is worth the wait. The combination of the 80s synths, the strong (often natural) reverb on the vocals and the powerfully uplifting and saddening crescendos create a beautiful world in which you become automatically drawn. 

The Boise State University drop-out risked it all and underwent a US tour covering 29 dates across the country. He's signed a two-year-deal with American independent company Fat Possum Records and I can guarantee his fun won't end there. Trying to put a longtime struggle with anxiety behind him, Powers has managed to undertake a huge step in his life to re-define this sub-genre of indie pop.

Rating: 7/10

Check out his blog here!

Please use the music player at the top of the screen for more Youth Lagoon tracks!

Below is an awe-inspiring music video for 'Montana' by Youth Lagoon, directed by Tyler T Williams:

Rufus releases the stars for the perfect Kenwood picnic

Rufus Wainwright - Natasha by bearofaman

Rufus Wainwright @ Kenwood House, London, July 3 2010

Courtesy of Ella Mullins, Rufus Wainwright

Rufus Wainwright knows just how to put on an inspiring show for an outdoor summer's evening.

The crowd were in awe of his presence from the moment he stepped onto the Kenwood House stage.

Last night, Rufus managed to light the stage throughout the night with the help of his breathtaking pianist. Playing songs off of his recent masterpiece; All Days are Nights: Songs for Lulu, and classic hits such as 'Cigarettes and Chocolate Milk' and 'Going to a Town', he created the extravagant sounds of an orchestra using just himself and a piano.

Beautiful support from Guillemots singer gone solo; Fyfe Dangerfield, set the scene for a succulent picnic performance.

The crowd grew accustomed to Rufus' intriguing stories as he created a warming atmosphere for the evening.

At times he did became too comfortable with the performance and was forced to restart songs. Nevertheless, Rufus had the affectionate personality to maintain the audience's concentration and still look and sound amazing (even if it was being recorded for radio!)

The spectacle remained superb despite the restricted views from the distant grass.

The gig was a return to Kenwood for Rufus after two years, and he still continues to produce that emotional spark with the audience.

The night was a great success and he received a fully deserved encore from his thousands of fans. The fitting hit Shrek cover of 'Hallelujah' left everyone hungry for more. Until next time, Mr Wainwright.

To find out about future Rufus Wainwright performances visit Ticketmaster or his official website.