Twelve months ago Thea Gilmore ripped open the package of a new phase in the creative atmosphere of the Midland Arts Centre to stunning effect. With that new phase firmly embedded a return was a no brainer as another tour was scheduled to launch the post-Afterlight stage of a career now stretching twenty-three years. The solo format has become de facto with the presence of guitars, keys and an evolving loop machine providing the comfort blanket of sound. Throw in a passion for words plus vocals blending the blunt and beautiful, and what rises is a foremost contemporary singer-songwriter forever evading those aiming to pigeon hole. For an hour and a quarter this evening, Thea Gilmore treated a Birmingham audience to a celebratory compact show packaging the past, present and future in a mist of musical marvel.
Afterlight's seismic introduction last year is still there, yet quite subtly included. The main set opens and closes in the same vein of the album with the live renditions of the spoken word sparking a loop-created backdrop. 'Of All The Violence I Have Ever Known' and 'Last' have deliberately defined the present with an effect that defies dilution. No introduction is required, They leave an imprint, while also unlocking the template for much more to surface and prosper.
Covers can divide opinion especially when a singer-songwriter has an extensive catalogue of original material. Thea Gilmore makes no apology of her love for sharing the works of others, both on record and live. This evening's selected trio harked back to last year and pitch a fascinating if not uncovered presence. 'Wrecking Ball' (the Miley Cyrus cut), 'Bad Moon Rising' and 'Cabaret' (the last two surely transcend their origin) are three you wouldn't bet on, but are undisputedly covered well and slightly different. As is increasingly the norm, the slice of musical theatre drew the curtain down to conclude encore.
The future for Thea Gilmore immediately lies in the scope of a series of EPs. 'Bones' from the recently released first one titled WAS had an airing bestowed with an extensive backing tape and faint electric guitar. 'The Chance' was a preview of an upcoming release and delivered from the keyboards. An instrument turned to again in the encore as the legacy of murdered MP Jo Cox was remembered in 'The War'.
Just like 2021, the support act was a performing poet. This time Oliver James Lomax was invited to share his work for around twenty minutes and try to inject a literary air to the evening. This complements Thea Gilmore's love for all things lexicon-related and worked really well. Admittedly adding an extensive bout of the spoken word to a music evening can stretch minds and not be a universal choice. However it is becoming the norm here and open to embracing if succinct, direct and charmingly entertaining.
The ease to which Thea Gilmore is slipping into the new format is open to the eye. She remains humble and appreciative that fans are moving with her. It helps if you possess the talent that has adorned a platform for many years and a creative yearning that appears to be intensifying over time. Long may she keep Birmingham on the horizon and continue to share music in all its guises. The music landscape is a richer place when artists like Thea Gilmore gift their craft.
