Manchester University MDH


25/6/003

Catatonia’s last album didn’t please the critics and didn’t sell in substantial quantities. I must have been almost alone in believing it was the band’s best album. I felt it was introspective, deeply emotional, and revealed an awful lot about Cerys Matthews. The rest is history. Well almost…

Matthews fell in love and was no longer obliged to be the boozy, and slightly slutty lead singer of a rock band; she no longer had to conform to other people’s expectations. By accident or design, she ended up in some Nashville backwater and recorded her first solo album and called it COCKAHOOP. Interestingly, the cover of the album states in no uncertain terms, ‘by CERYS MATTHEWS‘ - a statement of fact, but also a declaration to the world at large and those critical unbelievers?

Did I say unbelievers? Well, I have to admit I had my doubts about the lady’s rock vocal abilities, but this new solo album had me wanting to know more, to hear more. Why? Because I think Matthews has found her musical place, and it’s a place where her voice fits like the proverbial glove. It’s also a happier place. And that’s why I went to this gig at the excellent and welcoming Manchester University MDH.

I arrived early to try to secure a spot at the front of the stage but found that Matthews fans (yup, she still has loads) had beaten me to the punch. I noticed a handsome lady with a glittering gold hat and a massive Welsh flag. I noticed a couple with a very sick child in a wheelchair who I found out came from my hometown of Wrexham. I noticed a couple of girls wearing fairy wings. I noticed enthusiasm, excitement, and loyalty by the truckload.

First up was a young singer/songwriter from New York called Adam Green. He wandered onto the stage wearing an acoustic guitar and the look of a man who was going to have fun and enjoy the moment. He sat down and sang comic little songs about hairy nipples, first dates, lawbreaking and other youthful challenges. With his great voice and beguiling lyrics, he enchanted the audience. He also told us that his record was available from Manchester’s Piccadilly Records and that he was returning to New York the next day. I got the impression that the mothers in the audience (and there were a few) wanted to adopt him as their own - he was that kind of guy. As he left I realised that this was the last gig of the two-week Matthews tour and with a baby not far off, probably her last gig for a while.

The stage was full of drums, guitars, keyboards and God knows what else. Matthews was performing with a full complement of musicians including a key player on the new album in Richard Bennett. Cloaked in total darkness, a torch opened up a route for the players to enter the arena. In the dim light I could see a drummer, a bass player, keyboardist and two guitarists. Matthews started with a song I didn’t recognise but will be the B-side to her forthcoming single. The tone and mood of Chilly Winds suited the dark ambience but it was with great relief that the end of the song signalled bright splashes of light and my first live view of Cerys Matthews.

The crowd erupted at the sight of a radiant mother-to-be complete with the fashionable, just visible and nicely rounded midriff. She looked genuinely happy and perhaps even a little surprised at the sell-out crowd’s genuine welcome. In those first moments, she seemed to have a certain charisma and distinctive good looks. In the next few moments, she exhibited a voice that I can best describe as like a fine sandpaper that is slightly rough to the touch but is highly effective in doing the job it was intended for. And there was no better song than Roger Cook’s Chardonnay to prove the point. I was struck by the ease, authority, and confidence of the performance of a song designed to liven up an audience, and settle an artist. As the song bounced along I noted that the instrumental support was perfectly judged and expert. The audience response was awesome and the returned smile spoke volumes.

And to keep things bouncing, If You’re Lookin’ For Love resonated from the stage. Can anything be more different from Catatonia songs of old? I don’t think so. In addition to her own songs on the new album, there are several covers and the next song is definitely my favourite. Weightless Again by the wonderful Handsome Family is the complete song, with its stunning melody and superb lyrics. Matthews made it her own on the album, and it was performed here with respect and love.

At around this point the lady with the glittering gold hat came into play. A darting and amused look from Matthews in her direction at the front of the stage resulted in the hat being presented. Matthews then spun it over to the keyboardist who tried it on for size and then hooked onto a mic stand where it hung poetically for several songs.

The melancholy Gypsy Song provided proof positive that Matthews has that vital ability to interpret mood to perfection. She then raised the temperature a few more degrees with the hook laden and deceptive The Good In Goodbye. If I had needed confirmation that Matthews has found her musical niche, these songs nailed it. The short and explosive La Bage completed the first half of a concert that was proving to be one of the best I’d seen in 2003.

The assured performance continued with a brief explanation as to the surprising origins of the native hymn, Arglewydd Dyma Fi, which was sung in Welsh. The many native fans in the audience fell silent at the heartfelt rendition and then exploded into loud applause on its conclusion.

Next up was another song I didn’t recognise. It turned out to be a lovely cover of Banjo Moon that she had originally wanted to include on COCKAHOOP. The song was performed with obvious respect and it wouldn’t surprise me to find that she eventually gets her way when it appears on her next album. Throughout the performance she directed many admiring and contented glances over to her musicians and it was as clear as day that the lady played with people who were now close friends. Musical union on stage like this is rare and made the performance extra special.

The introspective Matthews penned song Only A Fool followed and I could sense the pain and honesty of the song through another moving and expressive rendition. Caught In The Middle and Ocean almost completed a performance that covered every song from the new album, dynamically and convincingly. My guess is that if anybody in the audience hadn’t already acquired the album, by the following day they would. It could be the only conclusion following such a wonderful performance.

Then a very nice touch. Matthews thanked her young support artist by singing a duet with him of his soon-to-be released song, Jessica. I wondered if the artist and mum-to-be would respond to the deafening roar for more. She did and completed a great show with her cover of All My Trials, for me the only weak point on a very strong record. Her performance of it was good but the arrangement was not to my liking. But it was a tiny blemish in an immaculate and joyful performance. Matthews has matured into a very fine solo artist with a distinctive, trademark vocal quality. Combine this with some pretty wonderful songs and you have an artist whose focus must eventually be Europe and ultimately the USA.

On the night there was another person on stage but invisible to us. They say that singing to an unborn child can benefit its future development. On the strength of what I saw and heard, Matthews junior is going to be one happy kid, and also a very proud one. Cerys Matthews gave us a performance to savour, and her family the promise of a content and secure future.

A top lady and a top show.