Hattie Snooks and her band took to the stage next, sending me into spasms of excitement regarding her cellist and his frankly magnificent facial hair. What was more, the excitement was maintained as they continued, showcasing a range of musical styles to create a set which was quite, quite magical.
The first song kicked off with a sound reminding me of Portishead, before the pace was picked up for a bubbly and charismatic chorus, the sound of the cello sailing alongside the vocals. The style was changed completely for the next song, an incessant, choppy guitar sound supporting Hattie's vocals, which are simultaneously wistful, delicate and yet full all of which arriving seemingly effortlessly, gliding past the sound of the cello.
A cover followed, of Nerina Pallot's Real Late Starter, poppier than what we had heard so far but working just as successfully. Mid song beat boxing showcased a sense of humour, with Hattie proclaiming she likes that one. It's fun, a sentiment I was forced to agree with. The next song moved me to record that it was vaudeville to a degree not seen at The Barn since Louis Barrabbas, and whilst uncertain if my choice of musical theatre genre is correct, consensus was that it defiantly had a dark, Victorian, possibly Parisian style if that makes sense.
It did at the time And then it was time for the last song, which made Hattie sad and made me sad too. I was cheered, however, by the song itself, which was a bit like I'd Like to Teach the World to Sing in all the right ways upbeat, summery, twee and lovely. And then, as a final treat, there WAS one more. And it had more beat boxing to the extent the cellist put down his instrument to concentrate on it. A cover of Gotta Get Thru This was our final treat of the evening, the band demonstrating their versatility and an occasionally diva like quality to Hattie's voice.
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The Tale Of The Miserab
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