Scott Senogles went to see Nils Frahm at The Howard Assembly Room, and wrote his first review for us …
Perhaps it should go without saying that when a German pianist comes to town you would expect nothing less than a disciplined, highly-polished and reverential command of the instrument. What I witnessed at Wednesday’s Nils Frahm’s gig at The Howard Assembly Room was all of these elements and so much more.
The evening was extremely balmy to say the least and the full-to-capacity audience nestling within the wooden vaulting of the Howard Assembly rooms added to the close atmosphere in this recently resurrected auditorium. Arranged on stage was a plethora of varying keyboards. First in line was an upright piano followed by two synths and a final concert grand microphoned to the hilt with mixing stations and loop pedals a go-go.
The night began with an enchanting forty minute set of intimate folk songs by Wigan-Born Nancy Elizabeth who was as much at home with the piano as the guitar. The unaccompanied song, third in her set, was reminiscent of the melismatic medieval plainsong of Hildegard Von Bingen but with more contemporary subjects of desire and life’s journey. Technically assured with intertwined clapping whilst playing the keys was all the necessary proof that this was a girl at the top of her game, vocally matched with a maturity of lyrical content to pull off a convincing display. Her captivatingly modest stage presence and cheeky informal edge, Nancy Elizabeth showed sincerity enough to warm our by now sautéed cockles (had we the need to roast them further). With a strikingly high range and earthy vocal tessitura, her lofty lilting melodies caught some of the mystery in which we were all bathed in eager anticipation of the main act.
Nils Frahm appeared on stage to a rapturous applause and exchanged highly formal pleasantries, particularly his delight at being back in Leeds once again, before gently turning and engaging with one of the many banks of mixer knobs and synth loops. Much tweaking was committed as a burning column of open fifths and harmonics began to fill the auditorium. At that point Frahm moved to the upright where even more layers of intrigue were generated. The drone like quality of the opening work made me at once think of Kraftwerk with that spatial bleakness layered with electronic allure. The intensity grew and grew with a sophisticated manipulation of rhythmic impetus and unexpected modulation which at times felt like it would surely overload the PA.
The next piece came direct from his album ‘The Bells’ with a repeated ‘B’ finally opening out into a Nyman like deft melody full of elegiac solemnity. Considering the majority of the concert was based in the minor key or modal inflections of the major, it has always been my personal opinion that it’s more rewarding to see how joyously a composer can develop the minor key than to simply manipulate the inherent positivity of the major!
If Sigur Ros were to take Kate bush out for tea whilst secretly having a bit on the side with Steve Reich who in turn was courting Enya, we might find somewhere in the mix that creative chemistry necessary to reach something of the sonic sound world Frahm communicates. What with a sound classical foundation in Beethovian pathos and Liszt like bravura to match there is nothing this chameleon cannot mimic whilst always keeping one foot firmly rooted in ‘his’ sound.
The third work in his set now turned us Eastward to the apt arid plains of Northern India drenched in sweet perfumed melody and the exotic loveliness of Indian Raga, again with a by now recognisably hypnotic Frahm approach to open fifth drones of ever building intensity, rhythmically charged in the manner of flamenco pentatonic improvisation.
One of the more striking elements of Frahm’s performance was the extended techniques employed towards the end of his set. He was able to convincingly mimic the sound world of Balinese gamelan with what looked like two lavatory brushes, beating them against the case and action before practically climbing inside the grand piano.
The feat of endurance shown by one musician playing with such finger blazing dexterity for so long (1hr 40) without a break left me aghast! Heaven knows how long ago the death knells of RSI must have screamed before evaporating off with no home in the wrists of this Germanic virtuoso. We were brought full loop in this final work by a return to electronic manipulations with synth and piano played simultaneously again building up layers of complexity by the use of loops and repeated ostinato. With boots filled with otherworldliness and deepest respect, he came forth after extended applause for an intimate encore.
If you missed this concert, do not make the same mistake again!
Agreed, great concert