Live Review: King Creosote @ Inverness Ironworks

Date: October 29th 2011

Words: John Deering 

“This next song is from the Mercury Prize-losing album Diamond Mine,” announces Kenny Anderson with a grin. 

The man who would be King Creosote looks more relieved than disappointed that his closest shave with fame since he started making records sixteen years ago remained just a close shave. He might like to sell as many records as PJ Harvey, but he looks absolutely at home on yet another tour of Scotland, telling tales of life in the minibus across the Highlands. 

I have been to one or two shows by one or two bands and heard one or two tour anecdotes in my time, but I can’t remember hearing one that began “In Ullapool last night,” before.

Close shaves don’t suit Kenny Anderson. Looking every inch a man in his 40s who has been in a minibus for a while, he shuffles on soon after the venue has opened, accompanied by his trusty accordion. His beautiful, reedy, crystal-cut voice soars over the breath of the old squeezebox, demanding that a hush fall over the still arriving early evening audience.

Collaborations

This evening will be a showcase for serial-collaborator Anderson’s latest protégés. He is soon joined on stage by the breathtaking Amy MacDougall, following in the footsteps of sometime Anderson cohort KT Tunstall in allowing  her natural style to flow, unencumbered by attempts to look or sound like anything other than herself. Anna Calvi should take note. MacDougall’s songs, supported by Anderson on the accordion and acoustic guitar alternately, took on a life of their own, never more than when her deftly used loop machine added layer upon layer, growing to a smooth crescendo.

Things shifted up a gear when Kid Canaveral hit the stage bursting with energy, scratchy guitars and twiddly-dee tunes.  Similarly unaffected with too much self-awareness, their joy shone through some otherwise forgettable songs, punctuated by unfathomably long breaks between each one.

The culmination of the evening’s fun was King Creosote shuffling back on amongst them like a wise old oak supplanted into a copse of swift-growing Douglas firs. KC2, as we were now invited to call the ensemble, were a much steadier proposition; the younger band’s enthusiasm breathing life into the superior compositions of their mentor.

'John Taylor’s Month Away'; signature tune of that Mercury Prize-nominated album that was the product of yet another King Creosote collaboration, this one with London-based ambience merchant Jon Hopkins, soars as high as the local peaks. 

It may be that working with other people – last year’s Burns Unit supergroup is another example – brings out the best in Kenny Anderson. It may alternatively be the case that he is a sad and lonely individual tied to Fife who just craves company. But for those of us listening, it certainly works:  the closing 'Not One Bit Ashamed' had an intensity that will remain in this listener’s mind long after the notes have faded.

No need to hang this great collaborator.

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