Tue 2 Dec – Baby Dee, Paul Curreri, Black Carrot
Another month, another Union Chapel gig. I still love the Union Chapel, it looks incredible and sounds just as good. I also like it because although it doesn't put on gigs by bands I like or know of that often, the ones it does put on always seem to be the ones that I had given up hope of seeing at all. I discovered
Baby Dee while browsing Amanda Palmer's myspace top friends, (which is surprisingly productive in terms of great music), but I managed to miss her the last 2 or 3 times she played in London.
First band up on stage were the interestingly named
Black Carrot. They were odd enough that my perverse music taste should have loved them, but somehow it didn't. They played alternately ethereal and loud early-pixiesesque songs with two drummers, some bass recorder action and occasional saxophone, and it was all pretty okay, but I didn't get that feeling I get when something really grabs me and says 'listen to this!'. Part of the reason for this was I think the vocalist and guitarist, who growled and slurred his lyrics pretty much unintelligibly while pulling a range of odd faces. I don't know, it felt a bit like they were trying too hard? I think that lots of other people who like unusual music might love them, but not me.
In complete contrast, the next musician was a man named
Paul Curreri, an american folk artist playing guitar with a backing band of double bass, drums, african drum and singing. I really enjoyed his music, he used what i think of as a banjo picking style on his guitar, ie he was playing with pretty much all his fingers on seperate strings, rather than just chords. His folk was not the american folk of the deep south, nor was it that of Bob Dylan or the more fiddle oriented northern american bands. It was something very laid back, spare and beautiful, a bit like Bon Iver with more down to earth lyrics, music I can imagine watching the sun go down to. Paul was a very good guitarrist and had a charming stage presence, and his backing singer provided just the right amount of female echo to the choruses. Tres bon.
Then it was time for Baby Dee. Her band, consisting of cellist, double bassist and drummer (2 of these had already assisted Mr Curreri) mounted the stage, and then up strode Baby Dee. She launched into her first song, and the tone of the night was set. I was expecting something beautiful, more on a par with her recordings, but what we got, while beautiful, was also punctuated with an incredibly unselfconscious air. Dee would often snort the end of lines, almost like she was laughing at her own lyrics, and would let her voice crack slightly at various points. Her performance was extraordinary, not like any I have ever seen before. I thought at the time that this sort of thing would be much more common in a world without a 'music industry', Baby Dee is making the music she wants, behaves the way she wants, and looks the way she wants (huge baggy dalmatian patterned sweater, big boots, wild hair). She told stories about the people and thoughts that had inspired each of her songs, punctuating each one with raucous chuckles that initially elucidated nervous laughter from the audience, but later became warmer as Baby Dee drew us into her way of thinking. Her sense of humour pervaded even the mundane task of crossing the stage, where Dee affected an exaggerated waddle that her drummer accompanied to clownish effect.
So what is the music like? A lot of it is vocal driven piano work, changing direction from soaring beauty straight down to earth with every rough bark at the end of the line. Some of the music is faster, darker and with a hint of eastern europe about it, such as the excellent
The Earlie King. The songs played on the harp were probably my favourite, these were the ones where the beauty of the music and the weary, wry humour of Baby Dee combined into something all the more beautiful for all the growls and guffaws. A special mention goes out to Baby Dee's drummer on this tour, who sadly I can't remember the name of. he was one of the best drummers I have ever seen, and was very young too. He managed to do all the complex cymbal stroking and drumstick changing characteristic of people who play the drums expressively rather than just as rythm, but he did it with rhythm and speed too.
A gig not quite like I was expecting, but a wonderful experience nonetheless, and I would go and see Baby Dee again, she is a unique, genuine and very funny person.