I first caught Thea Gilmore in concert at Manchester University Union in September 1999. In what, on the face of it, was a highly unlikely combination of acts, the English singer-songwriter opened that night for the American alt-country outfit Willard Grant Conspiracy and the show’s headliners, Seattle rock band The Walkabouts. She was 19 years of age and the previous November had just released her debut album Burning Dorothy.
The active careers of both Willard Grant Conspiracy and The Walkabouts are sadly no more but in a remarkable demonstration of her continuing artistic resilience and fertile creative capacity, Thea Gilmore is not only still going strong but has released a further 20 albums since that time.
The eponymous Thea Gilmore is the last in this illustrious line of albums, but the very first she has written, played, and produced entirely by herself. And she brings this fierce independence to tonight’s solo performance. Accompanied, at various points, only by her guitar, the Howard Assembly Room’s Steinway piano, plus a selection of trigger pads and loops, such singular strength helps Thea Gilmore forge a deep individual connection with the audience.
Enhanced, you would imagine, by the wonderfully ornate surroundings of the venue, there is a clear synergy between the artist and the capacity crowd here tonight. Despite having played live shows now for a quarter of a century, Thea Gilmore has spoken openly about still suffering from stage fright. But it is this duality between personal uncertainty and the familiarity she quickly establishes with those in the room that seems to further inspire her performance.
Thea Gilmore is often lazily, and most certainly inaccurately ascribed the epithet of folk singer. If any such proof to the contrary were still needed then tonight’s concert does so in abundance. Songwriter would surely be a far more accurate description of her immense musical talent. Gilmore delivers a dozen of her own tantalising songs tonight, predominantly from her most recent album but also including a couple of deep cuts from each of her Avalanche (2003) and The Counterweight (2017) releases. She throws in a couple of divine covers – Cyndi Lauper’s ‘Girls Just Want To Have Fun’ and the Creedence Clearwater Revival classic ‘Bad Moon Rising’ – for very good measure.
Thea Gilmore’s continuing desire to experiment with her music is clear. Her self-described “mash-up” of ‘This Girl Is Taking Bets’ and ‘Nice Normal Woman’ – almost bookends to her recording career and a musical declaration of what the older Thea Gilmore might well say to her younger self – evinces her innovative use of beats and loop pedals to some considerable effect. Gilmore’s first venture to the piano for ‘The Chance’ affirms her unerring ability to write a beautiful love song and later in the set she also proves her rock credentials when banging out a powerful ‘Mainstream.’
A winning line in self-deprecation is another of Thea Gilmore’s many charming attributes. She readily concedes that she is no stranger to industrial language before signing off this superb set with her second and final encore, ‘That’s Love, Motherfucker.’ Well, it is Friday night after all.
This concert was brought to us by Howard Assembly Room in association with Brudenell Presents.
Photos: Simon Godley
More photos of Thea Gilmore at Howard Assembly Room
