Rae Morris – Elfin Folk Pop From The Lancashire Lass

I’m quite excited about this gig tonight. I first saw Rae Morris a couple of years ago at a city festival and was enchanted by her startling vocals, vivid piano and genuinely lovely manner. It may be a well-worn comparison now but the young singer, who was signed by Atlantic shortly after her eighteenth birthday, certainly struck us as a budding Tori Amos.

Tonight is the first night of her tour and the Blackpool girl seems to have brought half of the Fylde Coast with her to this sold out show at Liverpool’s Kazimier.

First up are Rae’s collaborators Fryars, an electronic vocal trio led by Ben Garrett, who have been associated with such acts as Bombay Bicycle and Cajun Dance Party. After a much mooted debut five years ago they return with their album ‘Power’ on Fiction Records. Their layered electro pop, skewed beats and treated vocals get under your skin. One part Phoenix, another part Everything Everything, they keep the audience interested in a way that is rare with a support act. They finish with the appealing single, ‘Cool Like Me.’

With her debut album, ‘Unguarded,’ currently racing up the charts, as Rae alights the stage she is genuinely surprised by the amount of warmth and expectation surrounding her. She proceeds to play delicate piano-led ballads at her keyboard, her band providing solid back up with booming sonics and a sporadic double bass.The maturity of her voice is startling. She mixes melancholic passion with a bouncy cheeriness.

She is already no stranger to the TV soundtrack with songs from ‘Skins’ and the Danish show ‘The Legacy,’ under her belt.  Set highlights include the haunting Nordic sounding ‘Skin,’ and the catchy beat laden ‘Closer.’ The recorded version of ‘Cold,’ is a collaboration with Fryars. While on the album’s title track, she evokes Bjork orating over wobbly synths. At this point middle aged northern blokes are mouthing every word and dancing uninhibitedly to her elfin stylings. I say this with the awareness gained by watching the show from the wings in the midst of what appears to be the singer’s family.

For much of the gig Rae is seated, looking tiny in an eighties jumpsuit with Carol Decker hair. Her delicate vulnerability makes you feel protective of her. Yet there’s clearly no need! The tribal drumming and backing vocals from her girl drummer Daisy Palmer and solid guitars provide a barrier of surround sound. Her familial alliance with her band and work created alongside other musicians provide a nice contrast to the isolation of the grown up ballads.

I am among the punters who are mesmerised by ‘Don’t Go’ which to me sounds very much like ‘Don’t Give Up,’ by Peter Gabriel and Kate Bush. As she mouths ‘Sometimes people make the wrong moves walking in the wrong shoes, makes me feel like hope again.’ the purity of her voice shines out. While the whistling enhanced ‘Grow,’ is a song from the beginning of the journey which has a Fleetwood Mac feel. Rae arises for ‘Up Again,’ a song she wrote with Clean Bandit and Chris straps his bass on for the moody single, ‘Under the Shadows.’ An opaque beat underlies this strikingly presented pop song.

There has been a refreshing lack of chat from the audience throughout the gig. This is due to her winning personality and the quality of her voice. Given her album was recorded by a grammy-winning producer in LA, her modesty would lead you believe it was created in her bedroom. She’s excited for the encore and when she does return she asks, ‘Are you sure this is okay, guys?’ as if we’re doing her a favour letting her play.

Rae Morris has to be seen to be believed, as it were. Her dancey pop folk with a twist sounds infinitely superior live where you can pick up on all the musical nuances and the love in the room. As she said herself it was a perfect start to the tour. Apparently you can take the girl out of Blackpool!

To visit the Rae Morris website
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click here. Words by Mandy Williams    

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