Welsh Frivolity With Meilyr Jones
An evening of something different awaited Clwb Ifor Bach, as the light lowered on what seemed to be a blossoming weekend bender of intense alcohol binging and sun-drenched merriment.
Adrian Meilyr Jones has never attempted to become a musician that everyone would listen to, but instead attracted those with a more refined and experienced taste for the audio arts that are looking for something new and not your next pop sensation.
Angharad Van Rijswijk (or known simply as Accu) opened the sold out show, walking out and setting up camp with her Korg equipment and synthesisers, ready and poised to radiate unremitting notes of slightly psychedelic and bass-beats of nostalgic synth pop.
As the half-Welsh/Dutch artist took on musical similarities of the Icelandic Bjork, her act was escorted by a visual projection which mutely painted itself over the stage and the body of the musician, allegorically and accurately submerging her in a continual wave of dancing light, acting as a strong visual aid to accompany her tracks.
A few moments of interlude and out sprang the long limbed headliner, setting off a low-lit frivolity as “How to Recognise a Work Of Art” trumpeted into action with its uplifting introduction. Meilyr Jones immediately had the air of a man who had an inner freedom whilst performing his music.
The songwriter confidently stamped the stage while swinging his arms in a Mick Jagger fashion, addressing the audience now and again in the native tongue which was met with howls of Welsh delight.
The five multi-instrumentalists, filling empty spaces dotted around the eccentric six footer, each brought an integral thread that stitched together an implicit necessity for each member’s presence.
The evening was tenderly serenaded with not only the vivacity of electric guitars and drums, but also took pleasure in the appearance of violins, woodwind instruments and a keyboard that all received rational credibility.
Songs such as “Don Juan” and “Olivia” were also welcomed by the devotees with the odd hoot or holler whereas, tracks beckoning Adrian over to the white and black keys were left to resonate without interruption.
“Refugees” gracefully blanketed the club with Mr Jones’s poetry delicately ringing out, ushering in an immersive contemplation and a large round of applause.
Amplification was to be expected but the volunteered restriction of it was not. Like a silent flame licking at dry wood, a series of hushes were quickly issued and a deathly silence befell the venue as Adrian and his fellow musicians gave “Be Soft” chase, ending the night on a personal arpeggio and a beautifully frail violin duet.
