At Factory International on Friday, a towering funeral card loomed over the stage, a solemn tableau projecting the evocative phrase“Death Songbook”.
Not the most cheery opener – but that was the order of the day, with Brett Anderson and the Paraorchestra’s ‘Death Songbook’ exploring the raw and powerful emotions surrounding mortality.
The night promised to be a journey through the melancholy and euphoria of loss, with new takes on famous songs about death.
Brett Anderson and the Paraorchestra
Suspicions however were aroused, when the svelt figure of the superstar frontman of Suede, sauntered onto the stage, beaming a huge smile.
Maybe itwouldn’tbe all doom and gloom?
After a brief, not too awkward silence, an audience member shouted ‘play the song about death’ which lifted any initial nerves.
Everyone laughed and loosened up for an unexpected evening of joy.
“Well, we are going to get to that – eventually,” said Brett, chuckling.
The Death Songbook – Brett Anderson
But the truth is, despite the maudlin subject matter – this was a beautiful celebration of life.
The concert captured the essence of happiness amidst darkness, offering a moment of catharsis and connection for all in attendance.
It wasextremelyuplifting and joyous.
The audience was out of their seats and dancing, despite several warnings from security staff to return to their seats. These went completely unheeded.
They opened with a spooky spaced-out version of Killing Moon by Echo and the Bunnymen, haunting flutes and soaring keys making for a strangely uplifting version of the dark classic. (I think even at one point there was a clap-along)
There was an urgency in the song, almost a pleading from the musicians and artist that life is to be celebrated, moments tobe seized, chances tobe taken.
There was very little darkness present in the auditorium.
A touch of Suede
Killing Moon was followed by a spine-tingling rendition of She Stills Leads Me On from Suede’s latest album, the haunting Autofiction of 2022.
Brett Anderson introduced this soul-stirring piece as a homage to his late mother, whose passing in the early 1990s coincided with theband’sascent to fame.
With every word, Anderson poured his heart out, leaning into the mic with intensefervour, delivering the poignant lyrics with an intensity that left the audience on the edge of their seats, really feeling his emotion.
His vocal performances injected unique dark magic into Paraorchestra’s reimaginings, offering a hauntingly captivating listening experience.
The incredible Gwenno
Cornish songstress Gwenno graced the stage to join Brett in amesmerisingduet of the timeless pop standard“The End of the World.”
Clad in an elegant emerald green ensemble that perfectly complemented her enchanting vocals, Gwenno cast a spell over the audience with her lush and captivating performance.
If they had been rowdy for the first two numbers, they hadbeen stilledby this sumptuous tune.
Following this ethereal performance, the atmosphere shifted dramatically as the powerhouse anthem Holes by Mercury Rev filled the air, commanding the attention of the audience and gripping them with its power.
Just when the audience thought they had experienced the pinnacle of the evening’s surprises, a thrilling twist unfolded as the cult classic Enjoy the Silence by Depeche Mode belted out.
Shedding the driving intensity of the original version, this rendition transformed into a spirited and somewhat chaotic campfire singalong.
It also included a ridiculously complicated‘crowdparticipation’vocal arrangement – that absolutely nobody understood, including half of the band on stage.
That’s not to say that everyone didn’t love giving it a go, despite shall we say ‘mixed’ results. The auditorium erupted in laughter as it completely fell apart.
And that was symptomatic of the gig, one of joy andlove,rather than sadness and darkness.
The Death Songbook
Speaking beforethe gig, Brett said:“TheDeathSongbookwas an idea Charles came up with during the bleak days of lockdown.
“As soon as he suggested it, I was sold.I lovedthe idea ofcurating a suite of songs about loss,sadnessand regret.
“I’vealways found happy songs depressing,it’sbeen the murkier themes that have somehow sounded more joyous to me.
“Songs about doubt and fear and grief confront feelings we all struggle with, so to know that we are not alone in that fight can be quietly life-affirming.”
The gig captured thatessence,of happiness in misery, in darkness and songs about pain.
Sound and set up
A word for the sound and set up – The stage was alive with a carnival of sound as the musicians, under the guidance of leader Charles Hazlewood, conjured up an almost fairground-like atmosphere.
At the heart of it all wasHazlewood’smesmerizingWurlitzer organ, its distorted tones weaving a disorientating fairground around the audience.
Let by the organ, the haunting melodies of the viola and cello, the rhythmic plucking of the double bass, the skittering beats of jazz drums, and the delicate chimes of the metallophone all added to the party.
In a departure from the typical rock and roll spectacle,the stage was adornedwithan array ofinstruments more commonly associated with folk and classical music.
Yet, despite the change up from traditional rock aesthetics, Brett Anderson, seasoned by decades of leading a formidable guitar band, couldn’t resist the urge to throw a few shapes and dance. And why not?
Amidst a sea of adoring fans sporting Suede shirts, Anderson injected a hint of his trademark energy into the performance, eliciting cheers from the partisan audience.
Cover songs to finish
Theback end of the showconcluded with a stripped-back version of JaquesBrel’s‘My Death’,which has been covered by both Scott Walker and David Bowie.
It was Brett and an acoustic guitar, as compared to Walker’s booming big band arrangements. Despite this, it lacked none of the urgency and power of Walker’s cover.
The finalsong was a cover ofthe joyous, celebratory Black –It’sa Wonderful Life.
The song and performance hint at brighterpossibilities,and the potential for an incredible life.Brett’svocals are tender, complemented by the warm embrace of the strings and flute section of the orchestra.
Within the performance, thereis a palpable sentiment of emergence from darkness, a collective acknowledgement of resilience and the value found in the present moment.
It’sas though the song becomes a declaration of triumph over adversity, a celebration of the journey from despair to hopefulness.
It’sawonderfulnote to finishonbefore a rousing encore of Killing Moon sends us offgrounded,but optimistic for the future.
Tracklist:
Killing Moon – Echo and the Bunnymen Cover
She still Leads Me On – Suede
Unsung – Brett Anderson
The End of The World
Holes – Mercury Rev Cover
Enjoy The Silence – Depeche Mode Cover
Brutal Love – The Death Songbook
He’sDead – Suede
My Death – Jaques Brel Cover
It’sa Wonderful Life – Black cover
Killing Moon – Echo and the Bunnymen Cover Encore
You can see what else Factory International has planned by clicking here
