Music > Live Reviews

Mammal Hands

EPIC Studios

13/11/17

Right, I'm going to fess up right at the start. I'm no jazz expert. If you are searching for a critique of Mammal Hands' live performance n Friday in terms of rhythm patterns and arpeggio progressions then you are reading the wrong review. I was at Epic Studios simply because I adore hearing this band live. Cannot get enough of them. Not since I first heard them play three years ago. That's why I asked for the press pass, and that's why I am submitting this review. Sorry. End of.

I arrived at Epic in time to find Georgia King, familiar to many as a member of Norwich soul and reggae outfit The Piratones, just starting her solo set. Being made to perform in front of a good-sized crowd of early-bird arrivals, whilst sat on a large stage with just an electric guitar for company, could prove intimidating to some but Georgia's voice displayed no outward sign of nerves. Without the rest of the band she sounds a bit like Corinne Bailey Rae, and even with song titles like Slug and Chrysalis in the setlist, her performance is a real opening joy.

Not so instantly recognisable, well not to me anyway, was the next act, a four-piece from Manchester performing as Shunya. It later transpires that the moniker refers to a multi-instrumentalist and producer named Alan Keary. Keary is a charismatic and talented musician. He plays his violin like a bass guitar, and totes his bass guitar rather like a machine gun. Drums, synths and keys lock in around him this whilst powerful, versatile and distinctive vocals from singer Hayley Williams ignite a fuse that transports us into jazz territory incorporating elements of trip-hop, free-form and Balearic. Is there a sub-genre called 'Warehouse Jazz'? If so, then Shunya should surely be anointed as its high priest.

I will admit that I was slightly apprehensive when I heard that Mammal Hands' were to launch their new album, Shadow Work, at the former Anglia television studio in Magdalen Street. It is a big venue, and even with large sections draped off to create smaller, more intimate spaces, it has a very different atmosphere to places like Norwich Arts Centre, or Open's Banking Hall. But as soon as I walked in on Friday, I knew that the trio had made the right decision. Even with those curtains pushed right back the venue is now rammed to capacity as Mammal Hands take to the stage. The sound is actually as good as you will ever experience in a venue of this size, and the lighting is bold and impressive (although, to be honest I wasn't entirely comfortable with the band's name being spelled out, X Factor style, in huge letters across the back wall). This, though, without doubt is a game-changer of a gig for Epic Studios.

Drummer Jesse Barrett makes the announcements, and seems genuinely surprised by tonight's turnout, and also displays obvious pleasure at playing back in their home city (quickly correcting himself from 'hometown'). Nick Smart is at the baby grand, now with 'prepared strings' a feature of live performances, and also has an electric piano adjacent. Saxophonist Jordan Smart switches effortlessly between tenor and soprano throughout, and Barrett's ability to play the drum-kit with one hand whilst simultaneously beating out a tabla rhythm with the other simply has to be seen to be fully appreciated.

And that, I'm afraid is where I lost the plot as far as reviewing this performance goes. From Dark Shadow I remember hearing Black Sails, Straight Up Raining and Transfixed, and from the earlier albums I recognised Kandaiki and Kudu, but for the rest of the time I simply closed my eyes and let the sound of Mammal Hands transport me on a journey across musical landscapes. There is simply so much melody and rhythm on which to concentrate - the way that Nick's minimalist keys work their way seamlessly into Jordan's dance infused sax playing (and vice versa), the way that Jesse incorporates a fabric of zen and mysticism in weaving together rhythms from so many disparate cultures, and the way that Mammal Hands bring all this together as a cohesive unit. There is improvisation, but it occurs within almost telepathically defined boundaries – no time here for  self-indulgent solos or repressively honed back accompaniment, it remains a total team effort from start to finish.

As I said at the beginning, music to me has always been a passion, a feeling that manifests and envelops me at every gig. I am not an expert, and I am not a musician. I always have been, and always will be, in total awe of anyone who can pick up an instrument and play. When I listen to the intuitive skill that exists within a band like Mammal Hands I remain utterly convinced that musicians and I must be derived from an entirely different evolutionary gene-pool. Thank you all.