The Low Anthem are:

Ben Miller
vocals, acoustic guitar, electric guitar, banjo, drum kit, pump organ, trumpet,
E flat horn, and rack harp.

Jeffrey Prystowsky
bass, drum kit, vocals, pump organ, and acoustic guitar.

Jocie Adams
crotales, clarinet, vocals, pump organ, drum kit, electric guitar, and bass.

The tiny stage was crammed with so many instruments I lost count, but had a muffled chuckle when two guys struggled up the narrow stairs leading to the stage with what seemed to be a small, old wooden piano. In fact it was the World war 1 pump organ that the band found and given the kiss-of-life. An antique, super-massive double base leaned precariously on a chair while an odd chimy thing stood boldy stage-front challenging the audience… Eventually the trio climbed the stage looking unusually apprehensive, and so began my gig highlight of the year (so far).

With Ben Miller, Jeff Prystowsky and Jocie Adams lined up stage-front (nervously as if waiting to see the headmaster) they opened up with the albums first track, ‘Charlie Darwin.’ With the excellent acoustic quality offering a helping hand, I was blown away. It sounded easily as good as on the album, and what seemed apprehension was actually the band’s rapt attention to performing the song down to the finest detail. It sounded wonderful and moved in the extreme. ‘To Ohio’ revealed the crotales (the chimy looking instrument that Adams played with a bow) in action and signalled one of a series of songs where players moving from one instrument to another. I lost track of all the song titles but it seemed to me that the band played the whole of the new album in close order, adding a couple of songs that were new to me.

The quiet, melancholic ambience suddenly changed with a belting rendition of one of my favourite tunes, ‘The Horizon Is A Beltway.’ Then it was back to reflective mode with the utterly beautiful ‘To The Ghosts Who Write History Books’ with Prystowsky making good use of that old pump organ. The generally quiet set was punctuated with bursts of punky rockabilly (including the insanely good ”Home I’ll Never Be’) alongside the most fragile songs such as ‘(Don’t) Tremble.’ I was struck by not only in awe of the vocal quality of solos and harmonies but also the use of instrumental sounds to underpin the mood and ambience of songs. At one point (I think during ‘This God Damn House’) two cell phones were facing each other were used to echo whistling…

This was undoubtadly the most moving and exhilerating performance I have seen in 2009, and since returning from the gig have played the album endlessly. You simply must acquire OH MY GOD, CHARLIE DARWIN and, if the opportunity presents itself, go see the band perform. I won’t forget this show in a hurry.