REVIEW: Courtney Barnett at Hebden Bridge Trades Club
Not many gigs justify a two-hour drive through the winding valleys and urban sprawl of the South/West Yorkshire border at rush hour. But indie rock legend Courtney Barnett in Hebden Bridge's 200-capacity Trades Club? That’s not something you turn down, and the journey passes quickly with a few spins of her new album, Creature of Habit. While the hallmarks of her sound - dry wit, drier delivery, nimble guitar work - remain, her recent shift towards more introspective lyricism continues. Following a move from her native Australia to LA, the latent themes of directionlessness and self-doubt present in her writing have come to the forefront, making for a more confessional listen than her earlier character-driven vignettes.
Photo: Dave Cuthbertson
The picturesque streets of Hebden at early eve may be sleepy, but the early doors atmosphere in the venue is already feverish. Finding a decent spot is tough, anticipation palpable amongst the hugely dedicated fans who were lucky enough to get tickets for a show that could have sold out many times over. Little surprise, then, that Barnett takes the stage alongside touring drummer Stella Mozgawa (Warpaint) and long-time bassist Bones Sloane to a rapturous reception. Brief hellos, then straight into the grizzly bassline and pointed frustration of new track ‘Stay In Your Lane’. It’s a fine warm-up before an early crowd-pleaser: the stream-of-consciousness par excellence ‘Avant Gardener’ from her debut EP. Timeless lines like “the paramedic thinks I'm clever 'cause I play guitar/I think she's clever 'cause she stops people dying” are shouted out en masse over its lolloping rhythms and psychedelic stringwork.
For the most part, however, this set is dedicated to the newer material of Creature of Habit, and as is so often the case, the live setting enables songs that didn’t quite click on a first listen to explode into life. ‘Mantis’’ juxtaposition of summery jangle-pop with ennui-laden lyrics is a highlight, and ‘Sugar Plum’ displays Barnett’s deft gift for spinning endless melodic hooks out of simple chord cycles. When the latter has lines like “They say make hay while the sun shines/But sometimes I wanna just lay around/Read a book, eventually forget about everything”, it’s easy to see why the ‘slacker rock’ label is thrown about. I think that’s a slight disservice. When we’re all feeling the pressure of an uncertain world and a constant drive from all corners to ‘be our best selves’ - whatever that is - it’s surely not just the preserve of slackers to want to tune out for a bit.
Besides, there’s nothing slack in her stagecraft. Barnett is a compelling performer, vocals and waves of angular guitar delivered with fierce clarity. Her trio sound more fully-formed than many bands with twice the personnel, effortlessly pivoting from the house-hunting melancholia of ‘Depreston’ to a blistering cover of Wings’ ‘Let Me Roll It’. While Barnett’s mostly content to let the music do the talking, she opens up a little to share that she and the band are having “the best time”. Not the first time you'll hear an artist say that, of course, but it feels entirely genuine coming from a demeanour so laconic. There's also her well-documented disillusion with fame to consider, as explored on the excellent documentary Anonymous Club; no wonder she seems to revel in the Trade Club's intimate confines.
Photo: Dave Cuthbertson
Before closing with two early career cuts - the riotous fan-favourites ‘Pedestrian at Best’ and 'Nobody Really Cares If You Don't Go To The Party' - Mozgawa and Sloane briefly leave the stage as Barnett goes solo for the gorgeous ‘Mostly Patient’. My personal highlight from the new album, it seemingly touches on her own doubts about continuing in music: “sometimes you wanna throw it all away/hope that you don't mind me saying/I think that would be a waste”. Based on what I’ve seen tonight, that’s some understatement.
Words & Photos: Dave Cuthbertson
