Nils Frahm & Balmorhea Live (Review)

Thursday April 8th 2010 may well be remembered as the first day spring hit London…

A faultless sky and healthy temperatures had forced my hand into walking from the city to Bardens Boudoir, Dalston for what promised to be a night of musical wonder. As I neared my destination, I passed a group of happy, neatly presented and slightly lost looking Texans. I decided against an introduction and pressed onto the destination.

Upon arrival it was disappointing to discover that Bardens Boudoir was a windowless basement, perhaps better suited as protection from the torrents of winter than a distraction from the blossoming of spring. Nonetheless, and despite being early, I decided to turn my back on the setting sun and soak up the pre show atmosphere.

On stage a drum kit, electronic piano, a collection of guitars and an imposing double bass all rested in wait for the music that would follow.

Nils Frahm, the exceptionally talented pianist from Germany, cast both a modest and slightly despondent figure as he entered the stage. His modesty stemmed from his “surprise” at the popularity of the show (which was suitably crowded), and his disappointment lay in what was a lack of a real piano. Fortunately, after taking his seat by the electronic substitute, and asking the audience and bar staff to respectfully mute their ambience, Nils let his hands and feet do the talking.

The set was predominantly a fusion between his two records, “The Bells” and “Wintermusik,” using “In The Sky And On The Ground” from the former record as an intro and outro to what sounded like a reworking “Tristana” from the latter. As with all of Nils’ music, he successfully balanced the melancholic and uplifting passages of his music via the gentle intimacy that befits his demeanour. All the while his left foot swung furiously beneath the piano, reflecting his active mind’s improvised thoughts. The set concluded with a duet between Nils and Rob Lowe from Balmorhea.

Like Nils’ set, Balmorhea opened theirs with the first track from their latest record “Constellations.” “To The Order Of The Night,” is a peaceful piano song, wildly different from the expansive numbers found on their third LP “All Is Wild, All Is Silent.” “Bowsprit” also from the new record followed this, warming the crowd as all the instruments, including violin, cello, double bass, banjo and percussion came to life.  Tracks like “Settler,” “Coahuila,” and “Harm and Boon” from the third LP all made appearances. “Settler” and “Harm and Boon” were performed with copious amounts of energy, and the audience caresses and hand holding that were evident during tracks like “Steerage and the Lamp” and “Night In The Draw” transformed into foot stomping and bopping heads as these songs unravelled.

Remarkably the last time Balmorhea played in London there were only 5 audience members. It is a testament to their prolific output (4 albums in 3 years), that they are now pulling in the punters and such was the success of the show, an encore was demanded, and the group provided two songs much to the delight of the crowd.

Having shunned the sunset earlier in the evening, I expected to waltz into the Dalston evening accompanied by a clear sky, stars and moon. Alas the clouds had already gathered, and such is the unpredictable nature of the British weather, I initially thought the first day of spring had concluded somewhat disappointingly. Fortunately, I was able to reflect on the night of music, and realised that Nils Frahm and Balmorhea had already painted a perfect night’s sky, a constellation that was only visible within the confines of Bardens Boudoir. – Review by Josh Atkin for Fluid Radio

www.balmorheamusic.com
www.myspace.com/nilsfrahm