Ralfe Band, The Borderline, 28/04/10

I was back at The Borderline last night to see Ralfe Band. A few weeks of heavy gig-going was beginning to take its toll so after work I headed back home for a quick 90 minute power-sleep, before returning to central London, feeling re-energised.

I made it to The Borderline in time to catch one of the support bands, Treetop Flyers, who were quite impressive with their rich, alt-country guitar sound, full of sun-kissed harmonies and strong melodies. They reminded me at times of the great Grand Drive.

I had enjoyed listening to the first two Ralfe Band albums over the days ahead of the show. I love their slightly wonky, off-kilter, folky music, with the occasional European flavourings and ramshackle quality. I had forgotten about their brilliant instrumentals also, full of elegant keyboard lines and unusual time signatures. I think they are the band that come closest to matching the music of the much-missed Gorky's Zygotic Mynci.

Tonight (amongst others) they played ‘Crow’, ‘1500 Years’, ‘Open Eye’, ‘Stumble’, ‘Attics’, ‘Ice Is On My Hands’ and finished with 'March Of The Pams'. They also played a few tracks from their soundtrack to ‘Bunny And The Bull’ (which I still haven’t got round to getting hold of yet).

Generally I thought they were pretty good although they seemed a little subdued in places and never appeared to really hit full stride. To be fair, the technical issues they experienced early in the set didn’t help, as did the fact that at times they seemed to be battling to make themselves heard against the sound of a large part of the audience talking whilst they played. Not good when their sound can sometimes be fairly quiet…

On a different subject, I am warming to the new Borderline. Maybe I was a little harsh in my earlier post….

Port O'Brien & Laura Gibson, The Borderline, 06/04/10

When I heard last year that the Borderline was going to close for a couple of months for refurbishment I wasn’t particularly worried. I imagined it would maybe involve some replastering, a few new coats of paint and maybe a little tidying up here and there. I went along to the new, refurbished venue for the first time on Tuesday to see Port O’Brien and Laura Gibson. As I approached I began to feel quite nervous over the changes I was about to see….

Things got off to a good start as I entered and saw that the photographs of bands to have previously played the venue remained on the walls of the main entrance. So far, so good. Then, heading towards the stairs I noticed the framed lists of bands to have played the venue had gone, replaced by a series of empty frames (presumably which will eventually house more photographs). Disappointing I thought, but continued to move downstairs cautiously into the venue. On first glance there didn’t seem to have been a lot of changes. The layout generally remained the same. Then I noticed a second bar, directly opposite the main bar. Quite a good, sensible addition. Then, I slowly noticed the changes in décor and other alterations made since my last visit. I paused to take it all in….overcome with a wave of mixed feelings.

There is now a red curtain around the back of the stage (which kind of makes it look a little similar to the Luminaire in Kilburn and totally obscures the classic Borderline logo that used to be visible in the background as bands played). There is a cash machine (!) next to the main bar. Comfortable seating appears to have been installed in the back area. The main bar has new contemporary wooden décor. The little seating gallery to the left of the stage has been kept and redecorated. The toilets have been upgraded (although still ridiculously small). A new flat screen TV has replaced the outdated, old box top that used to relay bands to the bar-dwellers. It now looks more like a Soho music venue as opposed to previously when it looked like an individually unique, small bar from the dusty, American mid-west that had been miraculously transported across the ocean to central London.

I can understand why the owners felt the need to modernise but I couldn’t help feeling a little sadness as I sat on the steps in front of the stage before the gig started. The old Borderline had a certain ramshackle charm that simply didn’t exist anywhere else on the London gig scene. The Borderline may have gained a more modern, cleaner look but I think in doing so it has unfortunately lost a tiny bit of its character. And that’s a huge shame. I liked the old venue with its air of slight dilapidation and preponderance of natural, wooden décor.

Anyway, pleasingly, the layout remains unaltered which is the most important aspect. It still overwhelmingly remains a great, intimate place to watch bands and the atmosphere on Tuesday was as good as I’ve experienced in the decade I have been going. Possibly the most important result of the refurbishment is the improved sound. The rattling, vibrating pipework that used to echo out from the ceiling has been fixed and no longer interferes.

Ok, enough about the venue. Now on to the gig….

Portland, Oregon songstress Laura Gibson was first up with her clever, prettified acoustic-country-folk songs. Tonight she performs on stage wearing a red dress, the epitome of classic feminine country chic. She gets us to help out on an “experimental” a capella song. Her sweetly American-accented vocals occasionally recall Laura Cantrell (maybe if she had been reared on American folk songs instead of country songs). She closes her set with the rolling, rippling 'Spirited' from her latest album ‘Beasts Of Seasons’.

California's Port O’Brien soon come on stage next – this evening as a four-piece band featuring two new members (drummer and guitarist) after the previous duo were unable to make the European tour (which singer Van Pierszalowski appears less than thrilled about). Their melding of dynamic American-guitar-power-pop with weather-beaten alt-country sounds and brilliantly rough-around-the-edges rock thrills the capacity crowd tonight. They play old favourites 'Stuck On A Boat', 'Close The Lid' and 'Fisherman’s Son'. Later in the set during the slower tracks, they almost sound like a ragged Neil Young, especially on ‘Sour Milk/Salt Water’. They play current album favourite ‘My Will Is Good’. They close their main set with a rambunctious, sing-along version of ‘I Woke Up Today’. They then come back on to play ‘The Rooftop Song’ as requested by an audience member. This, despite the guitarist not knowing it (a brief description of the chords and structure of the song by front man Pierszalowski to the new guitarist Nico is all that is needed). Quite impressive.

The animated Pierszalowski continuously darts back and forth across the stage for most of the evening, and appears to be loving the show. Towards the end of the set he successfully attempts to climb on top of the drum kit (as the drummer continues to play). As an act I always find it to be quite an enjoyable spectacle (last witnessed by Warren Ellis of The Dirty Three).

A very enjoyable gig and proof, if any was needed, that the Borderline will continue to be the scene of many a great gig to come.

Susanna & The Magical Orchesta - The Borderline - 25/11/09

I managed to sneak in a flying visit at the end of November to the Borderline to see Susanna & The Magical Orchestra. My notes tell me their set was sparse, hushed, echoey and synth-led. Susanna's vocals were as pure and crystalline as on record. 'Guiding Star' recalled the ethereal quality of The Cocteau Twins and they played their ACDC, Joy Division and Leonard Cohen covers (no 'Crazy, Crazy Nights by Kiss sadly though).

Damien Jurado & John Vanderslice, The Borderline, 03/11/09

I was at The Borderline last night for a double bill of American-acoustic-indie-folk-guitar-power-pop.

After leaving work I headed down to the South Bank to enjoy a couple of hours in the Royal Festival Hall Members’ Bar. Had a very enjoyable first listen to Max Richter’s re-released ‘Memoryhouse’ album. Atmospheric, strident post-classical soundtrack music at its very best.

I pulled myself away from the beautiful views of the RFH balcony (photos to follow another time) and headed over Golden Jubilee Bridge, past St. Martins-In-The-Fields and up the Charing Cross Road before going into the Borderline with JP.

First up was John Vanderslice. I had seen him headline this venue last year. Surprisingly he only played one song from current album ‘Romanian Names’ (‘Too Much Time’), preferring to concentrate on older material. Not often you can say that. His set included ‘Trance Manual’ and ‘Angela’, the beautiful meditation on how an escaped pet can result in the questioning and reassessment of a human relationship (and incidentally, one of my top 100 tracks of all time, as recently compiled on my iPod playlist – separate blog post to follow on this). To end, JV left his position on stage and entered the crowd, getting a member of the audience to hold a small hand-held torch and playing 2 songs from the Borderline floor, the first being a rather lovely version of ‘Keep The Dream Alive’. As JP astutely observed, “very Death Cab”. Reminded me of a gig by Godspeed You Black Emperor at the Scala in 2001 (?) where during an already monumentally brilliant show, the drummer left the stage and walked through the crowd playing his drum, almost causing your correspondent to experience something close to an epiphany. Tonight maybe wasn’t quite the same in terms of the intensity of experience but it is always something I enjoy and should be encouraged in my humble opinion. Just remembered that Kurt Wagner started his gig last year at The Borderline by doing likewise.

Soon up after was Seattle singer-songwriter Damien Jurado who played a hushed, stripped down acoustic set full of trademark intimate, low key songs. The first part of his set consisted of songs from his yet to be released new album, followed by some old favourites. ‘Tether’, ‘Abilene’, ‘The Killer’. All brilliant. He seemed genuinely pleased and surprised to have a full Borderline to play for. A few self-deprecating anecdotes were interspersed between songs, including some funny observations on driving in London.

One of those great evenings that reinforce my love for The Borderline, live music and the wonderful city of London.

“This country will know us by name….”