https://www.dan-whitehouse.com/live/
From sunrise in Japan to sundown in Birmingham, the creative exploration of singer-songwriter Dan Whitehouse has been quite a journey over the last three years. Those tuning in to the Green Note live streams during lockdown had the experience of a set being played with a spectacular backdrop of the sun rising from the window of a Japanese apartment. This evening the axis was tilted and a gig played in the unusual setting on the top floor of the Symphony Hall in Birmingham overlooking Centenary Square. A beautiful late spring/early summer evening played a blinder as a backdrop to supplement a wonderful expressive performance by three talented musicians. The abundance of glass in the twin-named Justham Family Room and Jane How Room was also heaven sent as this was billed: Dan Whitehouse: A Night of Glass.
Glass has been core to Dan Whitehouse's creative focus in recent times. On one hand he curated, co-ordinated and drove the Voice of the Cones multi-art project that delved into the history of Stourbridge's glassmaking heritage before creating a stunning output of music, song and words. More in line with his conventional style of music making was the release of THE GLASS AGE, a seven-strong collection of songs taking a core theme and bending it in style and content. Both these albums hit the stores in 2022 alongside many shows that hailed a return to live performance, which itself was further hindered by being marooned in Japan for eighteen months. Now he is back to being an astute player on the Midlands music scene with a national reach in tow.
For this evening's gig, which was hot on the heels of a subsequent release titled REFLECTIONS ON THE GLASS AGE (basically acoustic versions of the 2022 record), the services of Elizabeth J Birch and Alex Lowe were secured to enable a fuller band sound to accompany the array of songs presented. Elizabeth brought keys and vocals to the table, while Alex majored on percussion in a variety of forms. Together with Dan's keys, guitars and warm vocals, they gelled immensely to impart a generous gift of majestically spun music to a healthy gathering of fans congregating from various sources.
The first thirty-minutes of the show was devoted to the wonderful inventive musical world of Elizabeth J Birch. Her experimental take on using loops worked really well, supplemented with vocal parts that enriched the whole process within a lyrical scope exposing depth and perception. She admitted to using this approach for the first time live, while coming across as a seasoned veteran.
Having worked with Dan Whitehouse before, it was no surprise to see her return a couple of times in the main set. Fully understandable as she contributed 'Rouse Ye Women' to VOICES OF THE CONES. A song recalling Cradley's chain making women rising to industrial action. A plight often overlooked in the history books. This was one of four songs from the album making the journey across the divide from the Black Country to 'Brum' tonight; the others being 'Picking Up Sticks', 'The Old Savoy' and 'Free Beer'. In line with the desire to offer an impact-filled evening, the between-song presentation was informative, engaging and always succinctly adding value. This is a credit to Dan Whitehouse's pride and intense effort to convey meaning.
Where the music of Dan Whitehouse scores high is the connective channels it forms with the audience. Everything is achieved within arms length and ideas floated become ingrained in a sub-conscious interaction. You inhale, feel and probe the experience planted, leaving a show refreshed and furnished with valid food for thought. A striking audio and visual presence adds to the canvas always leaving room for outside interpretation.
The songs from THE GLASS AGE are now bedded in, and nearly twelve months on from first surfacing it is hard to look past the adorable 'Rainbows Never End' and the uplifting 'New Love' as peaks from a lofty plateau. The latter closed the main set, bar a seemingly impromptu unplugged closing song that sealed connection as darkness settled on Centenary Square.
On a couple of diversions from the glass theme in a main set that ran close to the hour and half mark, a couple of tracks from the DREAMLAND TOMORROW album enhanced the show in 'Dreamland' and 'Teach You How to Fly'. Taking things further back, the call for some physical response to 'Why Don't We Dance' was heeded with a couple of waltzes springing into life.
This gig jigsaw was completed on so many fronts. Music, song, chat, performance and setting all played a part. Ultimately it is the meeting of minds that finds the elusive piece alongside a post-show bout of theme reflection and contemplation. In a world that tempts disposal, the art and work of Dan Whitehouse possesses a robust sustainable edge. When fate dictates nights like this, the springboard for progressive music takes effect.
Photo Credit Roger Westwood
