It’s been a bit of a wait to hear songs from latest gem, ‘Creature Of Habit’, on UK shores. Released in late March, the songwriter’s fourth album sees her embrace a new sense of sonic lushness, and to great effect.
Monday’s show took place at Bristol Beacon, a real jewel in the city’s crown since its refurbishment and always a stunning place to catch a gig. It’s a venue equally happy hosting classical music one night and dirty metal the next, making it a fitting home for a set that swung between the delicate and the deafening.
Support came from Sydney rock outfit e, who took to the grand stage with real confidence, airing material from this year’s album, ‘Tally’. Their debt to ’90s alt-rock was plain to hear, with flashes of The Breeders, Pixies and Sleater-Kinney, but they were at their most interesting when they loosened up. Shared vocals took on a retro, sixties tint, while Cecelia Coleman’s drumming brought a vintage swing that added another dimension to their sound. These shifting, swaying passages were the set’s finest moments; the more straightforward power-chord numbers were good, but less memorable.
By 9pm, Barnett was delivering her signature blend of speed-addled Bob Dylan and chilled-out Melbourne grunge. Accompanied only by drummer Stella Mozgawa and bassist Bones Sloane, she made a compelling case for the power of the trio. Without getting too hyperbolic, there were flickers of Nirvana in the mix, and not just sonically. Barnett wields an offset, left-handed Jaguar much like Kurt Cobain, while the distortion and chorus pedals at her feet weren’t a million miles from the sounds of ‘Nevermind’, a favourite of hers.
The last time I caught Barnett was in 2016, on a Spanish mountaintop field, with her debut still fresh. A decade on, it was a joy to see just how far she’s come. She’s grown as a singer, and there’s a noticeably greater confidence in her stage presence. Across a meaty 22-song set, including a three-song encore, both the new material and the back catalogue were given plenty of room to stretch out. It was also a showcase for what a phenomenal, and still underappreciated, guitarist she is: raw and distinctive, yet always anchored by a brilliant sense of melody. Most striking of all was just how much racket and texture these three musicians could conjure together.
Highlights included ‘Another Beautiful Day’, ‘Site Unseen’ and, inevitably, debut-era favourite ‘Elevator Operator’. The most intimate moment came at the start of the encore, when Barnett returned alone for ‘Mostly Patient’, a stripped-back showcase for the range and character of her voice.
For the most part, the crowd was thoroughly hyped, with plenty of cheers and hoots and younger fans rocking out at the front throughout. It’s the kind of set that could easily inspire someone in the audience to pick up a guitar themselves. That’s the beauty of indie rock and grunge: the music feels within reach, yet still holds the power to make you want to create something of your own.
Ultimately, the night underlined why Barnett has become one of indie’s most beloved voices of the past decade. Her songs are lovely without ever being showy, full of understated melodic touches that quietly work their way under your skin. Seeing her live only reinforces what a fine songwriter she is. This was a chunky set from a brilliantly tight, personable band, and one of the most enjoyable shows I’ve seen this year. A fantastic way to start the week.
Props, too, to Barnett for keeping her merch reasonably priced. We like to see it. And there’s something lovely about the aftermath of a gig like this: people huddled at a bus stop on a chilly night, clutching signed posters to their chests and swapping notes with strangers on the ride home. Anything to feel like a teenager again, hey.
