We'd gathered in the dark second
chamber and were sat cross legged on the floor before Esmerine walked
through us from the venue's rear and took their instruments. There
was no 'backstage' area to speak of, and it was lovely to meet the
group before the gig, hustled by the merch stall. I've long been of
the belief that a band should never employ roadies, that in doing so
you kiss goodbye to any punk rock sense of authenticity, and there
was a similarly unpretentious atmosphere here. Between songs, cellist
Beckie Foon (also of Godspeed You! Black Emperor,
formerly of A Silver Mt Zion) would speak to us
without a microphone, and in truth the stage setting seemed more of a
formality than a theatrical necessity.
Esmerine played for just under an hour,
a set comprised of numbers taken mostly from La
Lechuza but the group pleasingly paid dues to their strong
back catalogue too. Indeed, their debut album If Only A
Sweet Surrender To The Nights To Come Be True was
represented well, the stunning drawn out beauty of 'There Were No
Footprints In The Dust Behind Them' given an early recital in the
billing. But it was the material from La Lechuza
that resonated strongest, in particular the absolutely joyous
'Trampolin'. A jangly ditty; centred around harmonised marimba and
harp notes and underpinned by rising, trembling cello chords-
'Trampolin' is by far the most uplifting moment on La
Lechuza and it lost none of its power in the live setting.
Elsewhere, harpist Sarah Page gave an excellent sung performance on
the Lhasa De Sela cover 'Fish On Land'.
Throughout the concert, Esmerine seemed
perfectly enthused to be here touring, and delighted with the warm
responses their performances would elicit from the crowd. Smiles
abounded, and although the stage was small and the band hustled in
between each other- there remained a closeness between the musicians
that was evident in the reflected expressions between them onstage.
For such meditative music, Esmerine made for a charming spectacle as
a band. This visual impact was accentuated by the work of visual
artist Clea Minaker, who resided side stage broadcasting live
graphics and images on the rear stage canopy. These deserve a special
mention, as they were performed live and with good grace. An overhead
projector made for a canvas as Minaker blew leaves and feathers
across the light, or patchwork translucents- all making for a
beautiful real-time animation that would adorn the music. A live
reaction to it, then- painted in colour and mood, occasionally
awkward but endearing throughout and a lovely element to accompany
the band on tour.
Esmerine left once, but quickly
returned- an unending torrent of applause humbling the band into
performing two encore pieces. A sense of humour and eccentricity
pervaded their stories throughout, Sarah and Beckie frequently
introducing the lengthy chamber pieces as 'pop songs'- but it was the
concert closer that perhaps played the biggest double-bluff of the
night. Entitled 'Glock Rock', it was perhaps exactly that- an
otherwise out-of-character foray into high-tempo glockenspiel action,
ramped to eleven and accompanied by some frenetic drumming. If you've
never heard glockenspiels used as rock instruments before then you're
missing out. This was Esmerine's first UK tour, and for many in the
crowd it marked an opportunity to see a beloved band- this much was
clear from the response and by the number of people who hung around
afterward to converse with the group, who were clearly taken aback by
the warmth in the crowd.
First published in the405
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