TR/ST – FABRIC, LONDON 15.2.23
It has been a gap of 1183 days since we last witnessed a live performance from Canadian darkwave music artist TR/ST which came into being back in January 2010 as initially a collaboration between Robert Alfons and Austra’s drummer Maya Alina Postepski.
We last caught up with Toronto’s 34 year old Robert Alfons who nowadays is TR/ST, back on 20th November 2019 when he and his chums Lia Braswell (drums) and Esther Munits (keyboards) played the famous Gay superclub Heaven as part of a select handful of European dates.
This time around is even more exclusive with just a quartet of European concerts, with the sole UK date being held this evening at the famous TARDIS-like Fabric (stylized as fabric) nightclub in Farringdon in London, a venue which to date we have not frequented, until this evening that is. It is located on Charterhouse Street opposite Smithfield Market and the club which originally swung open its doors in 1999 was voted World No.1 Club in DJ Magazine’s “Top 100 Clubs Poll” in 2006 and 2008 and ranked World No.2 in 2007, 2009, 2010, 2011 and 2017.
The site of Fabric holds an interesting tale as it occupies the renovated space of the Metropolitan Cold Stores used for the Smithfield Meat Market which still stands and operates from a site directly opposite. The area’s construction took place in Victorian times alongside nearby landmarks Holborn Viaduct and Fleet Valley Bridge.
According to the information sign “The (Smithfield) Market of medieval times was a dangerous and exciting place. Public executions were held, hanging, disembowelling and scenes of torture commonplace. One of the most famous victims was the Scottish revolutionary William Wallace who in 1305 was dragged behind a horse from the Tower of London to Smithfield where he was hung, drawn and quartered. Muggers and pickpockets were rife and the place had a reputation as one of the roughest in London with a particular dislike of outsiders. The wife sale became popular in the early nineteenth century; divorce was exceedingly difficult and men brought their unwanted wives along with their normal goods to the meat market to sell them”. Crikey!!!
The cavernous Fabric has three separate rooms with independent sound systems; two of these feature stages for live acts. This evening’s sold out concert is taking place in the bowels of the venue at its lowermost underground site. I’m not actually sure how many punters are allowed in this evening, but I was informed that the total venue capacity was 1510, but this room is likely holding a third of that tonight, but there is also a reviewing balcony opposite the stage, where some fans were able to peer down at their idol.
I found it most interesting wandering around the venue listening to the chosen pre-band music selection of old post-punk classics from Joy Division, The Cure, PiL and the like, prior to the 68 minute, 18 tunes wide ranging vocal delivery TR/ST set, which commenced at 9:13pm and concluded at 10:21pm. It was akin to exploring a castle with its nooks and crannies, except this joint was full of happy punters of varying dress styles, all gathered together this evening to be entertained by Robert Hiley (Robert Alfons real name), who currently has over 87,000 followers on Facebook.
Thankfully we had secured our spots right at the very front leaning on the circa 3ft 6” high stage that appeared to be laid out for a trio of players. I had assumed that last time’s drummer Lia Braswell had switched to keys as (stage left, our right) there was a Roland RD-700SX Digital Stage Piano and (stage right, our left) a Clavia Nord Lead 2X virtual analog subtractive synthesizer, along with a laptop. Centre stage was the microphone where Robert would be doing his stuff. But as they entered the performance area from our right, there was no sign of Lia or previous keyboardist Esther Blue. This time around it was simply a slimmed down format of Robert and a chap on the Nord Lead 2X accompanied by copious amounts of dry ice which slightly hindered photography needs.
As the first few notes rang out for the opening number of last year’s ‘The Shore’ single, I was immediately aware that the sound quality from where we were positioned at the front was muffled and not that crisp at all. Obviously I’m uncertain what it sounded like to others elsewhere in the underground bunker, but it didn’t change for us throughout the set. I was desperately endeavouring to ascertain why this was the case. Robert’s vocals were clearly live, but I was stationed immediately in front of Robert’s chum on the Nord and I was studying his every mood. I had a sinking feeling that quite possibly he was just going through the actions without the unit being plugged in. The wiring from the keyboard led to a cable wheel on the floor in front of me. It had a red light power indicator, but I’m not sure it was lit and there were no lights on the keys that I could verify this. However, contradictingly, atop his keyboard, there was an A3 sheet which had details of some notes for him to play, so maybe he was plugged in? There was of course the laptop, which likely held most of the music on it and that’s why it was muffled and not crisp as it’s not really that live is it with people playing it, like last time back in 2019.
Having stated this, the TR/ST sound on the albums is down in the mix, especially the vocals, where it is difficult to ascertain what Robert is singing about, although the two young ladies from Bristol were singing along merrily, so clearly some folks know what it’s all about!
After tune two, ‘Bulbform’ from 2012’s ‘TRST’ debut album, we were served the first of three unreleased numbers in the form of ‘Cruel’. This was still distinctive a TR/ST track, which was reassuring, especially as I have the four albums in my collection: ‘TRST’ from 2012; my favourite ‘Joyland’ from 2014; ‘The Destroyer (Part 1)’ from April 2019 – (an album which interestingly was partly recorded in a 150 year old farmhouse north of Toronto) – swiftly followed by its sister ‘The Destroyer (Part 2)’ seven months later.
Tune four was one of two tracks played from 2014’s ‘Joyland’ album, namely ‘Rescue, Mister’, with the other ‘Four Gut’, coming in at number seven. I truly wished that there had been several more from this excellent long player, especially the haunting opening number, ‘Slightly Floating’, as well as the title track, and the epic ‘Are We Arc?’ and ‘Icabod’ anthems!
In between the two ‘Joyland’ tracks we were given ‘Colossal’ (found on 2019 ‘The Destroyer – Part 1’ album) and the second unreleased number, which is titled ‘Soon’. ‘Grouch’ (from 2019’s ‘The Destroyer – Part 1’ album and ‘Dressed For Space’ (from 2012’s ‘TRST’ album) followed.
Thus far, Robert had been continually bouncing around the centre of the stage which reminded me of the aura of fellow Canadian Darrin Huss (of Psyche fame) meets Marc Almond. The vibe of tonight’s concert had been upbeat, but that was to change as the vibe was taken down several notches, as Robert finally made use of the Roland RD-700SX Digital Stage Piano, which his sat behind for a trio of numbers, those being ‘Heaven’ (on 2012 ‘TRST’), ‘Gone’ (on 2019 ‘The Destroyer – Part 1’, which was the most haunting and enjoyable of the trio, and ‘Destroyer’ (on 2019’s ‘The Destroyer – Part 2’).
It was evident that tonight had sold out, as “fans” to the rear of the crowd could be heard nattering in vast numbers, during these three quieter numbers. This was the only TR/ST UK date and thus one would assume that “fans” would quietly absorb this special moment between Robert and us lot, instead of babbling on about who was going to be attending Dame Vivienne Westwood’s memorial service at the nearby Southwark Cathedral, or the demise of Nicola Sturgeon, or what Manchester City were winning at Arsenal, or what drinks they themselves have thus far consumed this evening!
Thankfully the sound level and vibes were to drown out those inconsiderate folk for the next quartet of tunes; ‘Iris’ (from 2019’s ‘The Destroyer – Part 2’ album), ‘Bicep’ (found on 2019 ‘The Destroyer – Part 1’ album), ‘Shoom’ (from 2012’s ‘TRST’ album) and ‘Sulk’ (found on the debut 2012 ‘TRST’ long-player).
Throughout the whole set, the absorbing numbers followed on from each other in rapid fire quick succession, with no idle banter, which is great especially for us who have trains to catch back to Brighton. The duo then vacated the stage for a minute, before swiftly returning for another 8 minutes, which gave them the opportunity to finish with two tunes from opposite ends of the truly enthralling and unique artist’s timeline, the as yet unreleased new ‘Boys Of LA’, followed by the 11 year old ‘Candy Walls’ (from the debut platter).
Despite the ‘dodgy’ sound and live performance concerns, tonight had been an enjoyable experience and the culmination of a fantastic day out in and around London. One which had seen us absorb our surroundings of wonderfully contrasting styles of art and architecture from the past two millennia, which had been interspersed with liquid refreshments and a fantastic Italian meal.
So in conclusion, I preferred the 2019 concert, whereas my colleague Martin J. Fuller, who also attended both performances, most enjoyed this evening to 2019.
TR/ST setlist:
‘The Shore’ (found on 2022 ‘The Shore’ single)
‘Bulbform’ (found on 2012 ‘TRST’ album)
‘Cruel’ (Unreleased)
‘Rescue, Mister’ (found on 2014 ‘Joyland’ album)
‘Colossal’ (found on 2019 ‘The Destroyer – Part 1’ album)
‘Soon’ (Unreleased)
‘Four Gut’ (found on 2014 ‘Joyland’ album)
‘Grouch’ (found on 2019 ‘The Destroyer – Part 1’ album)
‘Dressed For Space’ (found on 2012 ‘TRST’ album)
‘Heaven’ (found on 2012 ‘TRST’ album)
‘Gone’ (found on 2019 ‘The Destroyer – Part 1’ album)
‘Destroyer’ (found on 2019 ‘The Destroyer – Part 2’ album)
‘Iris’ (found on 2019 ‘The Destroyer – Part 2’ album)
‘Bicep’ (found on 2019 ‘The Destroyer – Part 1’ album)
‘Shoom’ (found on 2012 ‘TRST’ album)
‘Sulk’ (found on 2012 ‘TRST’ album)
(encore)
‘Boys Of LA’ (Unreleased)
‘Candy Walls’ (found on 2012 ‘TRST’ album)
TR/ST are on Facebook, Bandcamp and Spotify.
