Kevin Morby returns to Glasgow on the back of what is his strongest work to date; his latest album, Singing Saw, sees all the elements of Morby’s previous solo work refined and feeling like the final product his previous records hinted at.
The record is still centred around that late 60s, early 70s singer-songwriter vibe, and doesn’t really care to modernise the sound, instead Morby’s knack for this style creates a timeless reminiscent feel that has his set hotly anticipated.
Before Morby can take the stage though there time for fellow Texan Jess Williamson to allow her haunting songs to immerse a nicely filling basement that is held to a reserved quiet by her earthy sound.
Williamson’s Southern twang and songs give across a real sense of longing, despite a subtle humour, and gives an intimate feel to proceedings.
Her strummed guitar and gently howled vocal compliment each other vastly, and her shy yet endearing presence just adds to the unhurried beauty of her music.
The addition of a full band may well be what these tracks need to push Williamson’s delicate set to the level of tonight’s headliner, but all in all it’s a performance full of touching spendour that’s perfectly rounded off by a delightful cover of Chris Isaak’s ‘Wicked Games’.
When Kevin Morby takes the stage the basement is near full and rightfully so, as man behind The Babies delivers an all encompassing set that demonstrates just how at the top of his game he is three solo albums down the line.
Morby delivers his tracks behind a mop of hair, pushing the near capacity basement forward with his distinctive, wise Southern sneer, with each recognised track drawing woops from an eager yet settled crowd.
The set draws heavy from Singing Saw, but every song seems to ooze a timeless foreboding feel that is so difficult to create this well.
The late 60s feel in present throughout but there are points when the basslines hit a haunting Nick Cave quality, and as Morby’s drawl gives way on 2013’s hypnotising album title track ‘Harlem River’, the man bounces away on stage as if in a trance from his own sound.
The jaunty ‘Destroyer’ proves a set standout, seemingly played at a faster pace than on record, giving a real urgency, punctuated by squealing guitar licks and that ever present irresistible 60s vibe.
Kevin Morby seems to be getting stronger release upon release and with this kind of live set there’s no reason why he won’t be on a much bigger stage next time he visits Glasgow.
Words: Iain Dawson
