Effortlessly beautiful, Anais Mitchell dazzles the tiny audience of the Luminaire with a genuine modesty that sends shivers down the spines of a crowd stuck in a state of 'awwww'. Her voice hits like the sudden bone tingle of a flaming sambucca, first warming the cockles, then slapping you round the face.
The sound quality in the place is perfect. From my little hide away at the back of the room I could practically hear the pluck of each string run off the tips of her finger as she daringly opened the floor to requests. A rare thing these days, but somehow in this setting, the low lit stage; the draped curtains, the background chit chat between songs that makes you feel so at home, as if in a friends living room, sitting back with a glass of wine and relaxing to your favourite tunes, nothing works better.
One so looks forward to her next release, a concept album; the opera of Othenian, with roles played by, none other than, Bon Iver and Ani, the righteous babe herself, DiFranco.
Polite requests from Mitchells much treasured catalogue rolled out and, much to her surprise, each word and every line was chanted in unison by every mouth that bought a voice with it. 1984 , delivered by Mitchell with all the cheek and wit that a song that delicately fusses Orwellian ideology with modern tongue in cheek political observation should, becoming a beautiful sing-a-long amongst friends.
Another fine delivery from the lovelies at Righteous Babe Records to the lovelies at the Luminaire. I want one, An Anais Mitchell, pocket sized, for those grey days when the gentle charm of talent makes the wind and rain feel not so bad.
To qoute 'annoying man in green jumper who would not stand still for more than 2 1/2 (i counted) seconds at a time', 'woman in odd shoes (no doubt because she's that cool)' and 'the guy with all the beer': "oh, she's bloody lovely she is. dont you think so?" yes, yes i do.
Posted In Live Reviews, Jan 24 2009.
Words - Rebecca