-

There is a feeling of anticipation in the air following a less than awe inspiring DJ set from Leila (while it must be quite a daunting task taking to the stage before someone like Bjork, spinning a mixture of old time records distorted beyond recognition and some Snoop just doesn’t cut it I’m afraid. If you’re going to do noise, do noise, don’t just play a distorted version of an Aphex twin record). Would there be comments on Tibet, and the Olympic Torch protests, would there be a dedication during ‘Declare Independence’? Who, if anyone, would be guesting with her? One hopeful gig-goer standing next to me assured me excitedly he had seen the bass player from 90s hair rockers Reef just moments before I arrived. The possibilities were endless.

Suddenly, from either side of the stage red flares blazed, heralding the arrival of her 15 strong female horn section, who she would later introduce as ‘The Wonder Brass’. Mark Bell (of LFO) and Chris Corsano struck up the beat to ‘Earth Intruders’ and the woman herself, clad in what looked like a sweet wrapper with a headdress of multi coloured pom-poms bounded onto the stage. So far so good. And then she opened her mouth. Sadly, it was at this point that one of several sound problems hit the show- the first lyrics of the show “We are the…” didn’t come out to the audience. Throughout the show microphones distorted, masking the delicate strength of Bjork’s voice, beats became swamped and reduced at times to swampy thuds. “Hyperballad” descended into this sludge problem after a moving bit of crowd vocals, Bjork reveling in the love being shown for her and her band as the audience sang every word back to her. However, when the beat kicked in this magic was lost, and the driving emotional current that normally envelopes the song was reduced to a numbing thud.

Despite his frenetic movements, Chris Corsano was pretty much redundant tonight, his delicate, passionate drumming swamped in the booming mix, which also put paid to any clarity of vocal on set closer ‘Declare Independence’, whose political undertones were swamped by the booming beats, although to be fair the glitter confetti that filled the whole bottom tier of the venue and the general atmosphere of celebration had taken over by that point. It is tragic that a performer who clearly puts her heart and soul into her performances could be let down by such malfunctions, especially as this performing unit have been touring Volta for over a year now. With this in mind it was surprising to find at certain points during the set the band were more than a little wobbly, particularly when trying to integrate to the new musical gadgetry of the Tenori-on and the reactable. It was clear that the use of these gadgets was something of a showpiece within the performance, as three screens were set up to show them working. However, by placing these screens on stage level, it was difficult for most to see what was going on on the screens, and the effect was lost.

Perhaps due to these problems with technology, and perhaps because of their undoubted skills, it was the moments when Bjork’s stunning voice was allowed to work with just live instrumentation that the night really came alive. On ‘Vokura’, accompanied by just a harpsichord had a rare beauty, and the encore of ‘Anchor Song’, performed surrounded by the members of her brass section was a treat indeed. The warm swell of the brass was again in evidence when Anthony (of Hercules and Love Affair and …and the Johnsons fame) took the stage for Volta’s ‘The Dull Flame of Desire’, a song which was one of the nights high points, it was a showcase for two of the most unique vocalists in contemporary music today. Whether or not you buy Anthony’s ‘shy act’ is another question. Hiding his face from the cheering crowd and scuttling off arms swinging by his sides as soon as the song finished, it is difficult to understand why, if someone really was that debilitatingly shy, they would agree to perform to a sold out show in front of thousands of people.

However, it was Bjork’s other guest of the night that truly stole the show. Stepping out of the sidelines with a beaming smile and a wave to the crowd, TLOBF favourite Toumani Diabate brought his 21 stringed Kora to the centre of the stage and proceeded to weave an intricate and powerful spell over the crowd. For a moment Bjork herself sat at his feet to watch a master at work, before Diabate ripped into ‘Hope’ and the show was off again, lights blazing, lasers doodling on the roof of the Apollo, building to the thumping, glitter filled climax. Despite the problems, the show was a triumph, and Bjork’s excitement and respect for her guests transmitted itself to the audience, and saw her interact with the crowd far more freely and openly than in past shows.

Despite embracing new technologies, sounds and ideas, and bringing them closer to the mainstream, tonight it was the natural, more organic side of Bjork’s music that shone. The best thing is you get the feeling that you could go and see her again tomorrow and it might be something completely different that makes the hairs on the back of your neck stand up, takes your breath away and provides a little magic in the early evening.