Mike Heron and Trembling Bells – review

Vortex, London

This was an intriguing double bill, matching one of the originators of the experimental British psych-folk scene against its most interesting current exponents. Mike Heron was a founder of the Incredible String Band, the 60s heroes who fell from fashion with the ending of the hippy era, while Trembling Bells are the folk-rock band who are helping his rehabilitation. Heron was supposed to be the headliner, but it felt right that he appeared first, both for reasons of chronology and because his eclectic acoustic style provided a perfect prelude to the Bells' sonic attack.

Heron traded unashamedly in nostalgia, starting with Chinese White and Painting Box, two of his tunefully quirky songs from the ISB's 5000 Spirits album back in 1967. His voice is more ragged now, but he seemed deliriously happy to be on stage and backed by a band that included his daughter Georgia. She sported long hair and a long skirt, looking like an early ISB devotee, but proved to be an excellent singer and keyboard player. The old songs sometimes sounded twee, but mixed an entertaining sense of the absurd with influences from Celtic folk to country and gospel. By the end of his set, all four members of Trembling Bells had joined him on stage for a medley that switched from that delightful oddity A Very Cellular Song to the singalong Log Cabin Home in the Sky.

Trembling Bells started in the same engagingly brave style, with an a capella harmony duet on Seven Years a Teardrop, and then brought on the electric guitars. The band are remarkable for their soaring, folk-influenced melodies and for the clear, powerful singing of Lavinia Blackwall, who also plays guitar and keyboards. Though there were fine epic anthems here, from Colour of Night to Goathland, her voice was too often drowned out by the blitz of sound.

Contributor

Robin Denselow

The GuardianTramp

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