Royal Festival Hall, London, 10 & 11 July 2007

Bella Union is one of an alarmingly decreasing number of record labels who actually care about the future of music. It really is as simple as that. They are one of the last torch bearers of the independent label who fight for every artist on their books because they believe in them and their music. There are no sales targets, chart positions or media assaults to worry about when they release a new record, just the music. In short, we love them to bits. Music Journalist, Richard and Judy buddy and Bella Union lover (all his own words), Paul Morley is our host for the two evenings in the fabulous newly decked out Royal festival Hall. But there is a bit of worry being expressed by staff when I arrived because there have been problems with the acoustics, and the moving stage, which can be raised and lowered, is currently stuck at five feet, not great for the photographers or those in the first few rows, but let’s see how we get on.

Mr Morley really has a place in his heart for Bella Union and makes quick work of pointing out that these two evenings are about the music and nothing to do with the planet or indeed Diana. He touched upon feelings of excitement when a new Bella Union record lands on his desk, and the rush to find out what treasures are engraved on the shiny little disc. There is also despair at the fact that Bella Union is fast becoming a little too unique in the music business as one by one, labels, shops (including Fopp) and artists with the independent tag are ceasing to exist. I read an article recently by Paul and his teenage daughter about their connection through music, and I got the impression he is genuinely upset that the future for her will probably lie in the musical past, and her generation will really feel the effect of the money men controlling our culture.

Day 1

So all the introductions out of the way and we were greeted by newest signing Beach House, a male/female duo. This was a great opportunity for them to really showcase their dreamy soundscapes and haunting melodies in a premier seated venue. I think what first hit me was their composure, for a young band, as they really did look unbelievably at home. There were a couple of downers in the performance - the venue was barely half full, which in such a large space is a problem, and the band’s inexperience in holding onto the crowd. The songs were very good but minimal with just guitar, keyboard and vocal. How they sound on record will be very interesting because the extra layers and sounds that could and should be added will make for a fantastic record to just escape into. A nice start, but this was really just the beginning, with the big guns soon to arrive.

My Latest Novel was next on the bill. This Scottish five-piece were the logical choice to follow Beach House. They share the same desire to create floating soundscapes within which they take you on a little journey and let you off at the other end. But this is a much meatier sound, as you would expect with the full compliment of rock instruments. There is also a very orchestral feel to the songs with lengthy instrumental sections often being linked together with vocals in a refreshing reverse of the popular norm. The music felt very organic and natural, in much the same way that the Dirty Three build and generate energy in their songs, although this is much more polite. It is the atmosphere that the music creates that makes this so enchanting and rewarding; the very simple combination of very understated guitars, drifting keyboards and heartbreaking violin carry the songs along what feels like long winding roads, and not the roundabout of verse, chorus, verse etc. There are some truly magical moments when the vocal harmonies work perfectly with the ever-increasing pace and volume of the music. And then just as the crowd are willing it all to explode they gently let go and pull away to let the songs just rest. You love the surprise of just not quite getting there and being let down gently. However, on a couple of songs they did reach the peak and explode which was just as great.

The delightful acoustic ramblings of Fionn Regan were next up. He really is a completely absorbing character on stage, with the instinct to share not just the songs, but the experiences behind them and make you feel like you and he are the only people in the room. The songs were played with a mixture of a cheeky grin and a menacing ambience, giving instant understanding of the feelings behind the tunes. You got the sense that he has just turned up and had decided to play a few songs with no great fanfare or novelties, and therefore was more honest and intimate. It is this performance that makes the venue feel at its smallest and the audience the most connected over the two nights. There was a subtle accompaniment of double bass and drums on a couple of songs, and it was very interesting how Fionn really latches onto this and switches from solo to group so naturally. About half way through the set a young lady comes on to be greeted with a tender kiss from Fionn and adds some delicate backing vocals to the songs. And as we edge towards the finale he decided to unplug completely and continue ‘Be Good Or Be Gone’ while balancing as far forward on the front of the stage as he dare, and sang his heart out while getting everyone else to join in. It is one of those moments that stays with you; no loud yelling, just everyone softly singing along. The other big highlight was the beautifully crafted and delivered ‘Put A Penny In The Slot’, a quite mesmerising little song which has a wonderful flowing melody and understated guitar - probably my favourite song of the whole two days. When we arrived at the end of the set, he directed his band to walk off and follows while still singing until we can barely hear him or see him, and then he is gone. Truly wonderful, and I realised why this young singer/songwriter has been Nationwide Mercury nominated.

The first evening’s finale was delivered by the Howling BellsJuanita became a little frustrated at the empty seats towards the end and requested the audience to all move forward to fill the area nearest the stage to generate more energy which she seemed to think had not been present. ‘Broken Bones’ provided a more upbeat moment in all the wonderful gloom, very reminiscent of Tori Amos, but with guitars. ‘Setting Sun’ was the best song of the set by a country mile and even the emergence of Tom Smith of The Editors to duet on Cave and Minogue’s ‘Where The Wild Roses Grow’ couldn’t steal that crown. They were also joined by several of the evening’s other performers for one final big singalong climax to show this really is a family affair.

Fionn Regan was my star performer, but that is not to take away from any of the other artists. This evening really set the tone for the following day and did its job superbly to highlight not just how valuable Bella Union is to music. It may be worth remembering that there are many other independent artists and labels who are trying to get music out there against ever-increasing challenges and obstacles.

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Day 2

There is not much I feel I can say about Stephanie Dosen that hasn’t been said already on this website. She has a very innocent, sweet demeanour but manages to be very worldly in her delivery. Her debut album ‘LILY FOR THE SPECTRE’ is a superb example of how the singer/ songwriter style can be both familiar and brand new. Even more amazing is how she manages to lose herself in her little tales in the breaks and then find herself to deliver the most perfect songs so naturally. The songs are very beautiful pieces with the most subtle accompaniment of strings and almost apologetic drums to compliment her guitar and voice. She also has a very flowing and hypnotic style on guitar; her fingers just seem to caress the strings that almost play the notes for her out of thanks for her being so gentle. The music has a very haunting quality with an overwhelming focus on the melody, with any instruments or sounds being added very sparingly and thoughtfully. Stephanie was joined by her mini-string section, Midlake’s drummer and co-founder of Bella Union, Simon Raymonde on bass guitar. There were a couple of songs where Stephanie graced the piano and played it as lovingly as she played her guitar. We were treated to some wonderful songs, some heart-warming tales of tainted innocence, and a really warm and welcoming start to the second evening of these celebrations.

A massive change of direction is waiting for us next with the dynamic The Kissaway Trail, the young smoking guns of Bella Union, blazing their way on stage and through their set. You got the feeling with these guys that they could have signed with any label, but chose the one who believed in what they did. These guys were absolutely bursting with energy and enthusiasm and generated the same feelings for those watching. The shared vocals are perfectly in tune with one another; the anthems and calls-to-arms exploded from the stage one after the other; making you just want to jump out of your seat and run around like a demented fool. This was probably the most immediate set of the two nights, and as with their album they just know what to play, how and when to play it. The guys bounded around the stage like rubber balls and clashed with each other on more than one occasion with the biggest smiles. They also showed absolute admiration and gratitude to Bella Union for allowing them to be themselves, by displaying near the end three boards - one side reading “Bella – Union – Rocks” and the other sides adorned with hearts. And so say all of us…

The Dears were like the elder statesmen of the shows. They have big stage experience and really make this count as they add an astonishing level of power to their more elegantly delivered recorded songs. The songs were epic and very, very loud. The vocals are very dignified when they need to be and very raw when the songs descend into an almost free jam. They generate an atmosphere of building up and up until they just cannot take it anymore. Appropriately the set finished with half the band in a crumpled heap on the floor desperately pushing out the last notes and words of the finale; they had timed it absolutely perfectly and just run out of juice as they crossed the finishing line to take the prize.

Then it was the turn of the final (and most commercially successful) act, Midlake, to conclude two great nights of music. It was immediately apparent that most of the audience was there to see these guys, not surprising as they sold out the Shepherds Bush Empire very recently, and had to add another show. They took this role in the proceedings very seriously and over the course of their set hosted some surprise guests (that were not much of a surprise if you had read the local London papers that week). It very quickly felt like it was their show, with the crowd cheering the first notes of the songs like they haven’t done for anyone else. They also come across as the most natural band in that environment, with singer Tim Smith delighting the crowd with his banter. The music has really interesting with influences creeping in and out of the songs, from Fleetwood Mac to the Dirty Three. Romeo from Magic Numbers was the first guest to join the band early in the set, although with absolutely no disrespect to him or the following guest, it was only the final guest who adds anything to the band. There was much change in instruments and positions throughout, with Tim grabbing every opportunity for change like a child at Christmas as he bounded to his new position and got cracking. The best song of the set was the tune Tim penned for the Chemical Brothers, ‘The Pills Won’t Help You Now.’ This song just sweeps all that has come before it into the gutter. It is dance music as you wish dance music was always played; keyboards taking the lead with overdrawn instrumental sections; it is a breathtaking moment of a beautiful song performed to perfection.

We had a few more games of musical chairs in reverse before we got the expected special guest star of the show, Paul Weller. The man is a true great, and for Midlake to have been able to get him to play with them shows how they are regarded by their peers as well as the fans. But it was also the respect that such a major artist has for a small label. However, even Paul Weller couldn’t take away the event and the stage from Midlake. He is charisma personified when he steps on a stage, but I still couldn’t help wanting him to hurry up and get off so that Midlake could carry on in their natural state. Weller was brilliant in his role and actually seemed to be enjoying watching the band more than playing himself. Then the set’s final and most successful collaboration arrived; it felt like there was something new and different on the stage. And I have yet to read about this one in any review yet but it was the return of the enchanting Miss Dosen. This I think worked best because they sung for each other. Stephanie showed a very shy side to herself (probably due to not having an instrument in her hands) and spent the whole song curling her wrists up into her chest and letting them drop and looked slightly awkward and almost awestruck to be stood performing opposite Tim singing with and to him. The vocals complimented each other perfectly and the rest of the band virtually seemed to disappear as the focus was on these two fabulous singers.

We finally came to the end of what had been a fabulous two evenings. Both nights were fantastic, with the second probably just edging it for its consistency. To Bella Union I offer sincere thanks, for what they do and the way they do it. I am, above all else, a music fan, and have yet to dislike a thing I have heard from the label. But if and when I do, it will be because they have pushed the envelope even further and been even more, as Paul Morley put it, odd. So thanks guys from Shakenstir, here’s to the next ten years, keep the great music coming, keep us on our toes, and stay odd.