‘Cherry’s voice shone through with power and her lead players work was sublime leaving us to feel that more is yet to come of this duo.’
Opening tonight’s event was the competent Cherry who played heavy thrashed acoustic guitar with soulful vocal backed by an exceptionally talented lead guitar player who’s hands nimbly crawled around the fretboard. Cherry is clearly a witty lady dedicating song ‘You’re So Fine’ to wine when in reality it sounded like it was a track written about her partner. At times the humour felt a little too self-deprecating and lacked the performance in general lacked a little confidence. Cherry’s voice shone through with power and her lead players work was sublime leaving us to feel that more is yet to come of this duo, but in honesty we were left feeling confused as to whether the songs had been written with a full band in mind or as a solo project, we shall see what the EP she announced on stage holds.
‘60 Million Postcards has hosted many acts that have gone on to be stadium successful and watching Chloe Foy it felt that she should be the next legend to have frequented this indie paradise.’
60 Million Postcards has hosted many acts that have gone on to be stadium successful and watching Chloe Foy it felt that she should be the next legend to have frequented this indie paradise. Having learned that Chloe was touring as a three piece without drums led to anxiety that Chloe could sound like just another strumming glum acoustic singer but by the opening chords we were mesmerized. House sound engineer Chris Lynden later said, ‘it’s the best performance of the 1000s of performances I’ve engineered’. Winning over a sound engineer is no small feat with them having engineered everything from Chloe Foy to absurd angry teens.
‘Although much of the material was unfamiliar the dumbfounding level of musicianship kept all entertained regardless whether it was an unreleased track or a crowd favourite.’
Chloe is currently backed by 2 multi-instrumentalists who played a varied set of 13 numbers with Chloe proving she has far more to give than her current output; although much of the material was unfamiliar the dumbfounding level of musicianship kept all entertained regardless whether it was an unreleased track or a crowd favourite. Chloe and her backing musicians were sadly not joined by the crowd she deserved and although Chloe confessed she was very tired she did not let this affect band moral commenting with coy confidence to the audience that it would be nice to have the step forward which the audience did building an intimate affair that those present will remember for a long time. With Chloe’s backing band featuring one playing guitar (which also mimicked a bass guitar) and violin and the other playing keyboard and guitar as well as both singing harmonies the trio has crafted their arrangements not trying to emulate the exact recording but something equally sublime and, in this way, we were not left disappointing at the tracks having their differences but left feeling that we were given a special new insight to the songs.
‘The intimate nature of [Chloe’s] reworked live tracks left the gig in many ways feeling like… the performance was for you only.’
Music fans have forever and will forever attend concerts to gain the experience that cannot be replicated by recordings and to add to the intimate nature of the reworked live tracks left the gig in many ways feeling like a personal show for each audience member. Aside from the drunk noisy group the sparseness of attentive crowd allowed Chloe to talk and make eye contact with the audience as if the performance was for you only. Chloe’s demure alluring personality shone through talking of funding the tour and the Britishness of Chloe’s mum making Jam to sell emblazoned with Chloe Foy’s logo; it is without doubt that all in the audience will look out for Chloe’s next performance eager to attend.