I expected an entrancing experience at Union Chapel last night, but to be there in that lofty, warmly lit space, hearing it filled with the honest purity of Alela Diane's music was more than I could have hoped for.
The chapel is a dramatic and affectively mysterious space. It was a brilliant decision to book Alela and her support, The Hackles, here. The slant of the chapel floor, the vaulted ceiling, the stained glass and the amount of wood and hard surfaces (gallery, panelling, pews, floors) all combine to create a unique venue. It's a special place, deserving of special performances. And these musicians are the kind of people who know how to make the most of, and get the best from, a place like this.
The Hackles, who came on first to deliver a short but captivating 30-minute warm up set, are a trio (Luke Ydstie on guitar, Halli Anderson on fiddle, and Kati Claborn on banjo) from Oregon. Their music is folky and rootsy, yes, but subtle and refined, too. Standing in a tight semicircle, they blended their voices beautifully, with pinpoint harmonies, well-judged use of contrasting volume, and a lovely feeling of togetherness. Interspersing their songs with relaxed, witty patter, they set the stage perfectly for Alela and acted as her band for part of her set, too.
The group were obviously enjoying themselves, and more than happy to be performing at this very special venue. They had clearly assessed the space, and were careful to make the most of it: you could sense the musicians really feeling out the reverb of the large chapel arena, pushing out sounds and giving them time to develop and fade. It all felt relaxed, organic and pure.
After a changeover, Alela Diane arrived, radiating something indefinable - there's a gauzy spiritually to her persona that you sense as well as hear through her music.
The singer-songwriter from Portland, Oregon, writes moving folk tunes and sings them with focused purity. Her voice has a wonderful crystalline quality, and she delivers her lines effortlessly. In a live space - particularly one like this - the effect is captivating. There's no getting away from the wave of pure melody and interwoven harmony that emanates from the stage.
Alela began with her acoustic guitar, supported with the rich thrum of a double bass (played by Luke Ydstie), fiddle and an electric guitar. The sound was gentle, but entirely rich. But for me, the sound really built and enveloped the room when Luke moved to the upright piano for 'Dream A River'. Alela briefly explained the story behind the song: her exploration of an old family home in California, left empty with the front door open by new owners now moving on themselves. She sung it with full emotion, and the sound of those perfectly selected piano chords, entwining themselves into the overall mix, created something really wonderful.
'On Love' was performed gorgeously, Alela drawing out the vowels slightly, and creating greater depth than in the recorded version I've heard.
The highlight came next - a song I'd keenly hoped to hear: 'Howling Wind'. Again, the piano played a big part, but this time it was played by Alela herself. Her voice took on a fiercer, more impassioned edge at times (such as "vultures circling 'til a man choked; there is war in the street"), and I noticed the poetic imagery of some of the lyrics more than before: "Time slow as honey, haven't found a way I can move through" is a brilliant line.
The rest of the band left the stage after this, leaving Alela alone at the piano, before returning to centre stage with her guitar. She performed superbly for the rest of the night, delving backwards through time with some older songs. But it was that central section, with the piano at its heart, that really left an impression on me.
Overall - a magical, glowing experience, one I won't forget.
You can read my previous thoughts on Alela Diane here, and listen to her and The Hackles' music below.
Date of gig: 2 February 2023