Paolo Nutini,Aberfeldy Live Review @ Academy (Manchester) - 29 Nov 2006

Paolo Nutini,Aberfeldy Live Review @ Academy (Manchester) - 29 Nov 2006

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Live Review

Wow, this is good. Is this Paolo, is he on??

These were either the utterances of a besotted fan blinded by the lure of the swooning young Paisley born headliner, or a backhanded compliment to the quirky pop craftsmanship and versatility of the Riley Briggs fronted, Edinburgh quintet of Aberfeldy. Who are making their way through the apt, The Mamas & The Papas meets The Beach Boys opener ‘Summers Gone’. The rustic, organ sound rubs against the coated folk gloss of Briggs’ warming vocals, bringing contrast and depth to the fore. Another offering from their 2004 debut album ‘Young Forever’, featuring slower, higher pitched singing displayed via ‘Vegetarian Restaurant’, ensures for a wistful and warm commencement. This album is one of the mysteries of 2004, never really receiving the attention it deserved, yet it has indubitably helped them earn some dates with Beautiful South and this current tour.

A backward peering set shows a laudable determination to remind people that just because something happened two years ago, it doesn’t mean that it is not captivating and worthy of attention. The reception and reaction received from a healthy gathering confirms this point. A more streamlined pop/Americana approach concealed in tracks from ‘Do Whatever Turns You On’, their second album, is illuminated in the slightly aching romance tackling ‘Hypnotised’. Displaying their tingling range and warming backing touch of Ruth Barrie to perfection. Also, the playful lash-out at retro mongers in the form of ‘1970s’, shows that their tunefulness is still growing. Riley’s sharp humour is sparser than usual tonight, but it still helps to make that connection and show their all-round endearing nature. The lexicon of amour that is ‘Love Is An Arrow’, represents Aberfeldy’s biggest success so far and starts to melt hearts with its warm delivery and melting vocal range. However, it is the set closer ‘Heliopolis By Night’ that provides the lasting memory. Even though this quirky tale of Alien/God/Sun abduction has been toned down in the profile of the instrumentals, it still strikes an adventurous chord with onlookers. Tonight, this quintet shows a mainstream crowd that there is an alternative to The Magic Numbers.

The trio of backing musos stride into view and the chorus of Bibo Bandits ‘Can’t Take My Eyes Off You’ booms out of the PA. It is accompanied by around 1,800 voices and signals the gleeful entrance of the prim Paisley man of the moment, Mr Paolo Nutini. Playing the part of a popstar, he leaves the instrumental element to the others and rushes into the hurried and painstaking ‘Alloway Grove’. Singing to the floor and straining as though his heart his popping, his animated nature makes up for the authenticity lost by this crafted muso, in abandoning his guitar for a large part of the evening. Harnessing the pull of his yearning debut album ‘These Streets’, Paolo turns on his blues pump for ‘New Shoes’, continuing a searching theme that permeates his music.

The jazzy/blues vocal cry and gritty percussion driven backing of new song ‘January’, is welcomed for the fact that it shows the trappings of fame and success have not blinkered Paolo’s worried and soul-searching outlook. The middle of the set suddenly reaches a lofty nadir, through the back-to-back utilisation of the two searching powerhouse singles ‘Last Request’ and ‘These Streets’. Paolo grabs his acoustic guitar for the latter number, as though it is a long lost friend and inspires some choral crowd backing, eclipsing that given to his chosen stage entrance song. Having produced a surprisingly vibrant and powerful set, non album track ‘55/1’ provides some refreshing acoustic/folk reflection. With the job easily done in the main set, the luxury of being able to experiment in the encore pays off. The hollow and funky ‘Sugarmind’ and a passionate ‘Rainbows’ closes the night, by reminding everyone that this young songster is still growing in many ways.

David Adair

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