As we approach the end of what has been a tough year for musicians and fans alike, and with live music currently on such shaky ground, what better way to raise our spirits than a series of small-scale shows from one of the biggest names in modern folk-pop music. Following on from his recent tour of the UK, including a sold-out show at the Eden Project, Ben Howard is currently on his stripped-back tour, playing just four shows across the UK. One of these shows brings Howard to the Trinity Centre in Bristol, a former church that’s now used for various community and arts events.
Howard’s debut album, Every Kingdom, released back in 2011, established the Devon-born artist as one to watch in the pop-folk scene. However, after a 3-year break, Howard returned in 2014 with his second album, I Forget Where We Were, which subverted everyone’s expectations by adopting a much darker, introspective, and more experimental approach. Each album has been more experimental than the last, with Howard exploring a range of unique sounds, themes, and aesthetics. 2018’s Noonday Dream took on a more transcendental and hazy feel; its cryptic yet reflective lyrics set the stage for his most recent album.
For Collections From The Whiteout, released in February of this year, Howard reached out to Aaron Dessner (The National, Big Red Machine). The two decided to produce the album together. The pair created a new sound for the album, including more drum kits, loops, and synths than Howard’s previous work. In addition to the musical changes, Howard also takes on a more narrative-focused approach with his lyrical content. Whereas I Forget Where We Were and Noonday Dream were more introspective, looking inwards in the hopes of finding some clarity and meaning, Collections From The Whiteout instead looks outwards, examining news stories and personalities that reflect Howard’s own experiences in some way. As Howard explains it, “the songs end up being partly about yourself and partly about someone else.”
This stripped-back tour features more minimalist versions of songs from Howard’s latest album, Collections From The Whiteout. While his earlier, larger-scale tour featured the whole band, this time, it was just Howard and long-time collaborator Mickey Smith (of A Blaze Of Feather). The pair walked onto the stage in front of the sold-out crowd without saying a word, simply picking up their guitars, starting up the drum kit, and going straight into the first song of the night: ‘What A Day’. Being one of the more popular songs on the album, the groovy guitar riffs and pulsating percussion instantly got the crowd moving.
Following this was ‘Finders Keepers’, one of the strangest and most off-kilter tracks in Howard’s entire discography, both sonically and lyrically. The song is based on a news story from 2004 about a Londoner who found a dead body in a suitcase that was floating down the River Thames. This more minimal version of the track was somehow even eerier than the album version, focusing more on the song’s unsettling melody and darkly surreal lyrics. By contrast, the next song, ‘Follies Fixture’, presented arguably the most beautiful and serene version of the track, with Howard’s plucky acoustic notes and pained yet delicate vocals effortlessly holding the attention of the entire room.
Bringing the tempo up a little, ‘Far Out’ brought back the drum kit and smooth riffs, getting the crowd moving again. This also allowed Howard to show off his impressive vocal range, moving comfortably from high to low notes throughout the song. Continuing the more upbeat atmosphere was ‘Rumble Strip’, with its plucky guitar notes and subtle drum beat. As this track was only released as a vinyl exclusive, it’s one of Howard’s lesser-known songs, making it a rare treat to hear it played live in such an intimate setting.
Next up was ‘Crowhurst’s Meme’, which recounts another dark tale. Despite its fairly catchy melodies, the song is written from the perspective of Donald Crowhurst, an amateur sailor who died while competing in a solo yacht race around the world. This stripped-back version of the song allowed the unsettling lyrics to take centre stage, with the song’s recurring line: “when I wake up, I’m a long way out”, acting as the centre point of the track. Howard then brought the tempo back down with ‘Rookery’, a more traditional and minimalist folk song. Howard performed this song alone, as Smith took a step back, allowing the track’s campfire-style acoustic notes and gentile vocals to fill the room.
Howard chose to rework some classics from I Forget Where We Were, for the final couple of songs, starting with the album’s penultimate song, ‘Conrad’. In keeping with the stripped-back nature of the show, this version of the song was changed up a little, featuring a simplified beat from the drum kit and a more laid-back tone to the song as a whole, without losing the pair’s intricate guitar work. Rounding off the night was one of Howard’s most popular songs, ‘I Forget Where We Were’. As the undisputed crowd favourite, this track had the whole room singing along. In contrast to the album version, this rendition featured no percussion whatsoever, focusing instead on the song’s enchanting chords and serene vocals.
Whereas Howard’s past albums were deeply personal, Collections From The Whiteout looked at things differently, with Howard taking on more of a storyteller role. Similarly, this unique performance offered a different perspective on the album’s songs, stripping them back to their foundations. Not only did this allow Howard’s enchanting voice and skilful guitar work to shine through, but it also created a warm and collective atmosphere, emphasised by the rare opportunity to see such a well-established artist in such an intimate venue.