English singer/songwriter/guitarist Anna Calvi doesn’t seem to be that well known to the great music buying public, possibly because she doesn’t fit neatly into any convenient marketing category, but on the evidence of last night’s gig at The Troxy in east London (a rather beautiful venue, incidentally, which looks like it was a probably a ballroom in a former life) she deserves to be a major star. Her restrained appearance, non-existent stage banter and tastefully minimal back-up band (drummer, keyboard player and percussionist, with the latter two occasionally taking turns on bass) don’t give much of a clue to what’s coming, but believe me, this was a full-on rock’n’roll monster of a set.
Calvi’s stock-in-trade is to set up broody, pulsing atmospherics in which her impeccably twangy electric guitar conjures up lovelorn encounters in oppressive badland locales before soaring operatic choruses dramatically raise the stakes – it’s impressive on record, but quite astonishing to witness live. Imagine the soundtrack to a desert-set David Lynch movie suddenly ramping up into a full-blown torch song and you’re getting somewhere close. Flame-haired divas whose lung-power can fill a hall without the aid of a PA system are not so unusual, but Calvi’s unique in being a genuine guitar hero too, with a technical grasp and inventive flair that would put a lot of prog-rock veterans to shame. She hardly ever resorts to mere strumming while she’s singing, usually picking out spare but ingenious riffs and counter-melodies but sometimes pulling off complex and quite alarmingly ferocious wig-outs. I don’t normally comment on or even notice the lighting at gigs, but here the lightshow complements the music with rare taste and effectiveness, picking Calvi and her Fender out in silhouette as she shreds her way through her solos. The dominant colour is red, which fits as Calvi’s songs seem be to be constantly evoking images of heat, passion and flame, and her choice of Springsteen’s “Fire” as a cover version couldn’t be more appropriate. The pacing, arrangements and dynamics of these songs are highly impressive: none of them seem to go on a second longer than they need to and they all seem as spare and pruned of extraneous layers of sound as they could possible be. The sound in the room is excellent, with Calvi’s powerful vocals ringing out even in the loudest passages and lots of lovely reverb-y space in the quiet parts.
After an encore featuring her rousing singles Blackout and Jezebel Calvi calls it a night…at this venue, anyway. A solo show follows straight on at a pub down the road for those lucky ticket holders not reliant on public transport to get home. She’s an amazing talent, and her profile might get considerably higher before too long: with this much command of the whole sultry/operatic thing surely a Bond theme sometime soon is an inevitability? See her if you get the chance.