There is always something about Bush Hall that can add a little class to an event, maybe it's the mirrors or the chandeliers it just oozes sophistication, especially when set up as a seated venue, as it will be for the next 2 sold out nights of Kezia Gill's "The Story So Far" tour. The stage was also set more like a trip to a theatre, there was a microphone for someone playing guitar, a keyboard set up with another microphone and a most humble stool. There were also a couple of lights on stage, a globe and some open packing cases making it look quite minimalist.
The word "Concept" when applied to music has connotations of overblown indulgence, yet tonight was definitely a "Concept" show, not a regular gig per se. It would be tightly yet beautifully scripted. as Kezia's story was told through the most obvious medium of all, her songs. To make it work would require intense discipline, Kezia's habit of talking to the audience and potentially getting sidetracked had to be curtailed, for she was here as narrator for her own story. This was no puff piece either, we would celebrate the highs however we'd also share in the lows. as Kezia laid out just some of the ups and downs in the life of an independent musician. The performance would also shed light on Kezia's songs as she would place them in context detailing when and why they were written.
Given this additional background information some of the songs became more vividly real. The autobiographical details were laid bare and all of a sudden everything made more sense. It would all come together to make something unique, quite possibly the most complete coherent performance that we've ever witnessed from an Country / Americana artist.
Taking to the stage in an elegant sparkling red dress, Kezia immediately took control of proceedings and had a vice like grip on things throughout - this was one of those evening where the artist truly held the audience in the palm of their hand. Despite performing a number of shows during the week, her voice and playing were exemplary, as she would effortlessly flit from guitar to piano and back to guitar. The evening was full of delightful little surprises like the globe revealing itself to be a drinks cabinet or anecdotes that would draw an audible gasp or comment from the crowd - so invested had they become.
To review the show as a normal gig would be like reviewing "The Mousetrap and telling you who did it, you really need to see it from start to finish to experience the full journey. There were a couple of themes that ran through, the precocious talent that Kezia possessed from a young age, the second song of the set "Tomorrow They May Not Be There", written aged 15 had the swagger of a Bond theme matched to the lyrics of one well past their teenage years, in terms of its observations, it was particularly pertinent to the #TEAMw21 team at this moment. Also shining through, almost never dimming, is Kezia's optimism that all will come good in the end, never darker then when she has to take a Financial Services role for a while. The other light that is a beacon that shines throughout, is the influence of her father, he makes appearances throughout the evening with words of encouragement and on "Local Man's Star", a little tear would roll down Kezia's cheek as she altered a verse placing him in the past tense.
This was of course, "The Story So Far", 2025 already has more adventures lined up including an appointment with 19,000 people at the O2 where Kezia will seek to break this ridiculous prejudice that C2C audiences can have when faced with watching UK artists perform. I doubt that few, if any, of all of the artists performing at C2C next year could put together a set quite as compelling as what was witnessed tonight. The evening would end with a well deserved standing ovation on what was undoubtedly "This Perfect Night".
The evening would start with a set from Blake O'Connor, building on the success of his C2C appearances earlier in the year. His arrival was heralded by a little dry ice adding to the atmosphere. Hailing from Australia and obviously feeling the cold he came wearing a thick jacket he clearly had no intention of taking off.
His set would fall into two parts, the opening on a black electric guitar with the second part acoustic based. He would open with "Time To Kill" a slow southern blues number, enhanced with the aid of a stomp pedal He would shake the neck of his guitar to extract every decibel of sound throughout.
His next song song "Little Bit Longer" was more of a soulful blues, with Blake's voice powering out over a gently played guitar. which came with a suitably bluesy guitar solo.
A switch to acoustic guitar would bring about a complete change in style with the slow blues guitar style being replaced by a fast picking one. With his head shaking, his hair ( of which there was plenty ) was a perpetual blur during "Cover Me Up"
"If You're Looking Down" came with a jaunty intricately picked tune. An unlikely cover would follow in the shape of Elton John's "Benny & The Jets" - Blake would tease the audience by playing those familiar opening piano notes on his guitar, without naming the tune. There would be a myriad of faces pulled during a particular intricate piece of guitar playing and a little audience back and forth on this hugely enjoyable version with Blake coming to the edge of the stage to encourage the audience to join in.
"Don't You Ever Lose That Love" came with an intricate guitar refrain and was packed of reminiscences of being a child in Australia. For his closing song Blake would don a harmonica which he would play with some gusto along with some strident guitar on "If You Want To Get To Heaven" - a great way to finish.