The test of a good album is endurance and an ability to eternally pack a powerful punch. A timeless asset also helps so new listeners can tap into it at anytime and grasp its relevance. There was no indication from the floor of the Hare and Hounds venue 2 to when folks first listened to David Fords’s seminal 2005 album. An attentive and polite gathering offered minimal verbal engagement so some may have been there at its birth while others wrapped their ears around it for the first time in the run up to the gig. In extreme circumstances the album may be a totally new experience in a whirl of untested gig intent. One certainty was that David Ford would give the 20th anniversary of I SINCERELY APOLOGISE FOR ALL THE TROUBLE I’VE CAUSED a prized and precious update.
In recent years, David Ford’s career has been more in collaboration than focussing on the solo presence. His work with Jarrod Dickenson, Annie Dressner and Michele Stodart are three recent examples and exposure with them at least helped in a small part to boost the attendance past the three figure mark and pack the venue’s smaller room. Colleagues and friends have formed the stage line up for the tour. Birmingham originally had three guests lined up but Ed Blunt withdrew leaving his keyboard parts vacant. Not a problem for the multi-innovative Ford whose sound often exceeds the sum of its parts. This left a trio format with Demi Marriner offering backing vocals and guitar and Beth Rowley also backing vocals and harmonica.
The forever humble Ford played compere at the start introducing both guests to share three of their own songs to fill the support slot. He played guitar on a couple of Rowley’s blues-inspired numbers and stood on the sideline sparring with Marriner’s wit. The main event grew with anticipation during a short break.
When a show explicitly evolves around a featured album it’s interesting to see how it pans out. The running time for I SINCERELY… is around 50 minutes. Throw in a hidden track from the original CD version and swathes of engaging chat led to the album part of the show pushing the 80-minute mark. We weren’t done then as four further songs extended the evening beginning with ‘Pour a Little Poison’ and ending with a cover of George Michael’s ‘Freedom’.
While the album remains available to listen to in its original guise at anytime (wider now in this streaming age), there is a definite ‘in the moment’ feel to how an artist like David Ford interprets it on any given night. The uniqueness adds to the mystique of the present.
The performance in Birmingham shook with an idiosyncratic verve as a cognitive intensity transmitted the eminence from stage to floor. Ford buried himself deep into each song mindful to admit that something is always left for listener interpretation. A reflective light was shone on a state of mind when the songs were written and recorded. Ford showed the dexterity of his instrument application periodically using loops and a drum machine in addition to multiples guitars and occasional keyboard. The ability to conjure a lavish sound from a sleek base is one of his key attributes alongside pouring profound emotion into the vocals at opportune moments. The songs breathed a new existence for this snapshot and standing back to admire the creative nous was an easy place to be, even if you felt your senses a little worked.
Elements to David Ford’s stagecraft remain an enigma but multiple guises piece together what a fine musician and songwriter he is. This remarkable album is basking under fresh light and a community gathered in an appropriate setting to give it their respect.
