Even by my own standards this is a tardily late review given three weeks have passed since I finally got the chance to see MLD favourite Sally Murray live in London. As I write I’m flying somewhere over Nova Scotia after my cancelled trip to SXSW suddenly became a mad, less than 24 hour scramble when my visa surprisingly turned up on Wednesday morning.
All this is an upfront excuse for the lack of detail in this review, my brain is functioning only to express its stern disapproval at my attempts to squeeze 6ft 6″ into economy class for 10 hours. Incidentally does Continental Airlines only employ over 50′s as cabin staff? For a moment I thought I’d stumbled into a SAGA holidays remake of the controversial Virgin Atlantic 25 years Ad. Thats not a complaint, it actually makes a pleasant change. Respect to Continental for employing people based on how good they are at their job.
Back to Sally Murray, the Nottingham born but now Manchester based folk/blues singer’s debut EP rightfully featured in this sites top tracks of the year. The only dilemma being which tune to single out. I cant say this was her first London gig but it was the first I’d noticed. So respect goes to the very friendly organisers of regular live night Electroacoustic for tempting her to the capital.
The curiously named “Slaughtered Lamb” was a new venue for me, and any similarity’s to its “American Werewolf In London” name sake stops at the name. Even the toilets have suitably refined metropolitan graffiti “ahh football based comment how quaint” someone has written under one scrawl. Actually thinking back there was also one that said “what’s the difference between Marmalade and Jam?” `The answer had been heavily crossed out except for the words “your girlfriends arse“!! So a jar of Jam to the first person to send me the full undoubtedly hilarious gag :-s
There’s a relaxed atmosphere to the basement venue, decorated with heavy curtains, old fashioned table lights and the odd chaise-lounge. Murray arrives to explain its the first time she’s performed these songs with an electric guitar so it might not sound quite right.
Her voice however is as crystal clear and affecting as it is on record, “Changes On The Ground” a sublime mix of bluesy slide guitar with the gorgeous vocal floating in and out over the top. The soupier sound of “Battleground” suffers slightly from its looped background vocal refrain getting lost in the mix. Its still a wonderfully wonky updating of a blues/folk sound, lo-fi tastiness with judicious use of spooky echo effects.
The set only lasts 5 or 6 songs but the skittering drum track on the final number hints at more styles being poured into the pot in releases still to come.
Throughout I’d been taking a few pics but mostly reclining in a heavily draped alcove on a huge luxurious leopard-skin couch, like a roman emperor if you substituted being fed grapes for a pint of bitter and some dry roasted peanuts. As the warm applause died down Murray stood next to me jokingly asking friend who’d been “getting all paparazzi” through the set. I was pointed out but I’m passing the buck, it was definitely one of those little digital cameras with fake shutter sound effects making most of the noise.
If you haven’t already, buy the Sally Murray EP from Piccadilly or her myspace, and be sure to catch her live in a town near you (just be a bit quieter with the cameras).
Sally Murray – Myspace / Facebook
LISTEN: Sally Murray – “Changes On The Ground” (MP3)
BUY: “Battleground” EP from Piccadilly records or Sally’s Myspace
WATCH: Sally Murray – “Changes On The Ground (Live)” (YouTube)
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