THE DELGADOS + ANDREW WASYLYK – CONCORDE 2, BRIGHTON 20.1.23
Named after a Spanish racing cyclist, The Delgados are a Scottish indie rock band whose debut single ‘Monica Webster’ came to the attention of the legendary Radio One DJ John Peel in 1995. They recorded seven full sessions for his show, and ‘Pull The Wires From The Wall’ topped his ‘Festive Fifty’ favourite tracks in 1998.
Initially a four-piece, their sound expanded with the use of additional musicians into an ambitious and textured sonic palette. Of their five studio albums, the third, ‘The Great Eastern’, received a nomination for The Mercury Music Prize in 2000. Rather than sign to a record label, they had formed their own, Chemikal Underground, which also released material by other bands from their local area including Mogwai and Arab Strap. The Delgados called it a day in 2005, but after a hiatus of over 17 years, announced they were reforming to tour in early 2023. The very first date is at Brighton’s Concorde 2, and there is clearly much excitement amongst the queuing fans of this revered act as the doors open on a chilly January evening.
Support tonight comes from a fellow Scot, producer and composer Andrew Wasylyk, whose two most recent albums have been released on much loved label Clay Pipe Music. Tour budgets can be a challenge in these cash-strapped times, and support acts all too often are solo performers or DJs. Well, there’s none of that here tonight. The stage is absolutely rammed with equipment, and I’m pleased to see a six-piece outfit thread their way through the instruments, backline, and an array of music stands.
The main man has dark hair and a thick beard, and sits sideways on to the audience, his keyboard setup housed in a sturdy wooden case. House left are Rachel and Faye on trumpet and sax, and house right we have Pete, bowing a road-worn cello with an impressive patina of roisin dust. Behind him is bassist Joe, seated at a Moog synthesiser, and drummer Liam is on the far right.
The music is mainly instrumental, jazzy soundscapes which would make excellent film music. It is richly atmospheric and rather beautiful. Mute trumpet sets the mood for the opening number, which gradually intensifies with big chords and languidly tumbling drum fills. Second piece, ‘The Confluence’ has a glorious piano figure, accompanied by lovely legato cello and a funky beat.
Clay Pipe Music releases generally have a connection to a sense of place, and Andrew Wasylyk’s most recent album was apparently commissioned to accompany an exhibition by landscape photographer Thomas Joshua Cooper. ‘The Life Of Time’ features a sampled reading of poetry written by Cooper. It sounds hauntingly evocative, floating over piano arpeggios and swoops of cello and horns. ‘Awoke In The Early Days Of A Better World’ is jazzy and sax-led, whilst samples of playground noise introduce ‘Last Sunbeams Of Childhood’. Set closer ‘Truant In Gossamer’ is more electronic, a long slow build with breathy swooshes of mock-choir and a bubbling synth hook.
As support acts go, this has been an unexpected delight. I noticed that there were vinyl copies of the last two albums on the merch table, and I make a mental note to drop by after the show.
The musicians:
Andrew Wasylyk – keyboards, vocals
Pete Harvey – cello and violin
Rachel Simpson – trumpet
Faye MacCalman – clarinet, saxophone
Joe Rattray – bass, Moog synthesiser
Liam Chapman – drums, samples
Dougie Laing – front of house sound
Andrew Wasylyk setlist:
‘Fugitive Light, Restless Water’ (from ‘Fugitive Light And Themes Of Consolation’ 2020)
‘The Confluence’ (from ‘Hearing The Water Before Seeing The Falls’ 2022)
‘The Life Of Time’ (from ‘Hearing The Water Before Seeing The Falls’ 2022)
‘Awoke In The Early Days Of A Better World’ (from ‘Fugitive Light And Themes Of Consolation’ 2020)
‘Last Sunbeams Of Childhood’ (from ‘Fugitive Light And Themes Of Consolation’ 2020)
‘Truant In Gossamer’ (from ‘Hearing The Water Before Seeing The Falls’ 2022)
It’s a few months short of 18 years since The Delgados’ last gig in Malaga in Spain in May 2005. As the hard-working technical crew set the stage for the main act, it becomes apparent that this coming tour is an ambitious undertaking, with no fewer than ten musicians taking the stage. The core four are Alun and Emma on guitars and vocals, Stewart on bass and Paul on drums, supplemented by keyboards, flute, and a four-piece string section, with the violins positioned behind perspex acoustic screens house right. Our photographer Sara has filched a quick snap of the setlist, which seems equally ambitious in its extensive scope. My friend Del, an enthusiastic fan back in the day, is nodding with approval at the selection.
There’s a huge cheer as the band come on, to an intro tape of Al Bowlly singing ‘Midnight, The Stars And You’, a 1930s dance band number. “What kept you?” shouts a wag in the audience, to a general chuckle of assent. Drummer Paul, seated at a clear-shelled Ludwig kit, launches a lilting beat and we’re straight into the gorgeously melodic ‘Everything Goes Around The Water’, embellished by a catchy motif on flute and strings. ‘Accused Of Stealing’, underpinned by a steadily insistent chug, breaks down into a dreamy interlude before culminating in a simply glorious playout on flute, strings and piano. This is quality stuff, nicely played, with an orchestral rock feel that reminds me of later XTC or the 1960s psychedelia of Love.
A bubbling flute line accompanies ‘The Arcane Model’, and there are shimmering electronics on ‘The Actress’, whose angular beat is emphasised by powerfully strobing bursts of light. Alun and Emma share vocals, alternating lead parts or singing harmonies together. Their guitar tech is kept busy with frequent changes of instrument. Emma switches between a Jaguar and a Telecaster, whilst Alun favours a Rickenbacker or a Les Paul.
Big clanging chords open the haunting ‘I Fought The Angels’, and bassist Stewart rattles sleigh bells to open the whimsical ‘Aye Today’, which satisfyingly concludes with a peal of sampled bell sounds. There’s a tiny false start on ‘Child Killers’ as Alun searches for the vocal line. It’s been a while, so no one would begrudge him a couple of attempts. Properly underway, it’s more lovely than its title might suggest, with plucked strings, meandering flute, slide guitar, and a music-box keyboard sound.
“I have imagined this day for a very, very, very long time,” confides Emma, to a loud cheer, before launching into ‘Pull The Wires From The Wall’, with its lush string arrangement. She dispenses with her guitar altogether to focus on singing the eerily melancholic ‘Come Undone’.
The band seem genuinely delighted to be back playing again, and to be in the “interesting” city of Brighton. “We’re from Glasgow, home of the rocket… and you have them too. So many rockets.” Emma clarifies that this is a Scottish slang term and Alun elaborates: “Just really f*cking crazy people.” Who, us?
An intense burst of snare drum opens the urgently stabbing rhythm of ‘Under Canvas Under Wraps’, from the 1996 debut album ‘Domestiques’ (a term for the support team in cycle racing), before we get a couple of more reflective numbers from ‘The Great Eastern’. For ‘Make Your Move’, Alun plays seated, with his Rickenbacker laid down like an improvised lap steel. Frustratingly, Emma’s guitar cuts out starting ‘The Light Before We Land’, though once rectified we get to hear the glorious introduction again. It’s an awesome piece, with huge chords and big sweeps of strings.
Alun has an additional vocal mic with heavy effects which he uses on ‘The Past That Suits You Best’. Stewart’s bass is equally processed to a monstrously deep growl. Emma has a pause for reflection, which sets off a round of amusing banter, before the poppy ‘Everybody Come Down’. “It’s funny that you know the lyrics better than me,” she quips to the audience.
After ‘The Drowning Years’, with its rich strings, Emma introduces the band. It’s quite a list, so apologies to anyone whose name I misheard or have misspelt. We’re getting towards the end of the set now, and closer ‘Thirteen Gliding Principles’ soars appropriately towards a dramatic conclusion with much appreciation from the crowd.
There’s not much doubt that there will be encores. The four original members initially take the stage for a spirited romp through 1995 debut single ‘Monica Webster’. Emma regales us with an anecdote about the courier having to lug 1,000 copies of the 7” vinyl up three flights of stairs to their tenement flat. She switches to an acoustic for the glorious pop of ‘Coming In From The Cold’, which commences after some amusingly sweary false starts. They could hardly have a more sympathetic and supportive audience, so it’s really not a problem. The very last number of the night is the beautifully poignant ‘No Danger’, whose delicate start leads to a powerfully climactic ending.
It’s been an astonishingly good gig, and both acts proved an absolute treat. Despite the long break, The Delgados are still held in huge affection, and the crowd tonight were clearly delighted to welcome them back.
The Delgados:
Alun Woodward – guitar, vocal
Emma Pollock – guitar, vocal
Stewart Henderson – bass guitar
Paul Savage – drums
Additional musicians:
Graeme Smillie – keyboards, guitar
Sam Hinston – flute
Alan Barr – cello
Charlie Cross – violin
David Laing -violin
Shauna Akin – violin
The Delgados setlist:
‘Everything Goes Around The Water’ (from ‘Peloton’ 1998)
‘Accused Of Stealing’ (from ‘The Great Eastern’ 2000)
‘The Arcane Model’ (from ‘Peloton’ 1998)
‘The Actress’ (from ‘Peloton’ 1998)
‘I Fought The Angels’ (from ‘Universal Audio’ 2004)
‘Aye Today’ (from ‘The Great Eastern’ 2000)
‘Child Killers’ (from ‘Hate’ 2002)
‘Pull The Wires From The Wall’ (from ‘Peloton’ 1998)
‘Come Undone’ (from ‘Universal Audio’ 2004)
‘Under Canvas Under Wraps’ (from ‘Domestiques’ 1996)
‘American Trilogy’ (from ‘The Great Eastern’ 2000)
‘Make Your Move’ (from ‘The Great Eastern’ 2000)
‘The Light Before We Land’ (from ‘Hate’ 2002)
‘The Past That Suits You Best’ (from ‘The Great Eastern’ 2000)
‘Everybody Come Down’ (from ‘Universal Audio’ 2004)
‘The Drowning Years’ (from ‘Hate’ 2002)
‘All You Need Is Hate’ (from ‘Hate’ 2002)
‘Thirteen Gliding Principles’ (from ‘The Great Eastern’ 2000)
(encore)
‘Monica Webster’ (single, 1995)
‘Coming In From The Cold’ (from ‘Hate’ 2002)
‘No Danger’ (from ‘The Great Eastern’ 2000)
How lovely to read such a thorough and knowledgeable review. I saw them in Manchester last night and it was so intense and beautiful that I’m craving more.
Thank you very much for your kindness.