2nd February | Crofters Rights
“I mine for fear and worry,” laughs Tamara Lindemann with her audience, now deep into her warm and encompassing set at a sold-out Crofters Rights. “If I find happiness, I find it’s good to peel back the layers and find the pain.” This may sound slightly destructive, but perhaps it’s an important lesson in self-preservation. Lindemann’s music as The Weather Station, when you do get to experience it within a live setting, rewards its audience with such personal qualities.
Opening the evening, Red River Dialect celebrate the release of their new album, Broken Stay Open Sky today, playing some of their new songs to an open and welcoming audience. As a six-piece on record and live, their sound is resounding; it breathes with all the emotion that David Morris exerts with painstaking tenderness, and builds their Cornish folk foundations into something pronounced and genuine. Yet there is a gentleness to their approach live, which allows them to engage on a more emotional level, and it’s here where the group truly succeed.
The Weather Station, performing as a four-piece across this tour, have a patient, considered live sound, one that cuts the air with poise and striking intimacy. The guitars reverberate with rich melody, evoking a sense of exploration as they interweave in finger-picked chord progressions. It’s a really beautifully warm sound, the Crofters Rights perfectly suiting the harmonious nature of such a set, ensuring each inflection rings throughout the room.
Tamara and her band are animated and stirring throughout, embracing a much bolder and more guitar-orientated sound than what appears on her latest self-titled record. She also possesses a calm grace, especially as she performs more sorrowful numbers, such as the aforementioned, stunning ‘I Mined’ or the fan requested deep cut of ‘Yarrow & Mint’ which opens the encore. It’s a seamless array of feelings that makes this set so absorbing.
Tamara’s vocal is deservedly the centre of the performance, wide in range and lingering with emotion. Her vocal elicits a jazz-like depth in feeling amongst earthy tone, allowing for such breadth. This particularly becomes prevalent again during the subtler sections, which lose none of their focus in comparison to the the busier, more energetic songs. Her lyrical flow is comprehensive, fast and unique, particularly impactful during ‘Thirty’, which embodies the concise and to-the-point mood that embraces the set. It proves they don’t mess around with impulsive phrases, allowing the songs to stay sharp and striking.
The set as a whole is markedly divided, yet surprisingly seamless in being so, working from a mellow beginning, through a fragile, tender middle and into a bustling end. It’s all-consuming, and presents a singular songwriter in a terrific stage of her career.