Graham Coxon – The Roundhouse, London
Essex youngster Esser may be the latest next big thing in the trendy world of electropop but he looks a bit lost onstage at the Roundhouse tonight, perhaps an odd choice of support for the more reserved headliner, he prances about throwing shapes rocking a comically oversized haircut and jacket combo. Some of the songs, notably singles “I love you” and “Work it out”, hit modest highs and it’s all competently enough performed, but there aren’t enough big hooks in the singer’s oeuvre yet to save this from being a rather forgettable performance.
So swiftly on to the headliner, then. Tonight’s gig is essentially a showcase for Graham Coxon’s latest album The Spinning Top and from opener “Look into the Light” Coxon is quietly captivating as he works through the concept piece track-by-track. It’s a downbeat, folky record, so accordingly the singer spends most of his time sat down slumped over an acoustic, however, excitement builds rapidly when he readjusts the mic stand and straps on a Telecaster to deliver a rousing, grungy version of “if you want me”. It’s a big release of tension coming as it does after a succession of sit-down numbers but no sooner is the song through with that he’s reaching for the chair and the acoustic again for some more of his delicate, introspective folk.
Coxon’s live manner is shy and self-effacing, he effects a sort of anti-stage presence as he mumbles apologetically between songs though this works to his favour on the night, upping the intimacy of a set full of painfully intimate tracks. It’s an arresting collection of songs and a demonstration of the integrity and maturity of this latest work; there’s something to be said for a singer-songwriter who, sitting down and plucking on an acoustic, can hold the undivided attention of a packed-out Roundhouse in this day and age. A highlight of the night is the double bill of “Caspian Sea” and upcoming single “Sorrows Army”, beautifully touching songs both but, as should be the case with a concept album, it’s not about the big tracks but the sum of the parts, and there are accordingly no weak spots here tonight.
The very brief encore – a rendition of late folk legend Davy Graham’s “Babe, it ain’t no lie” – is fitting enough though I can’t help but feel a little disappointed that the telecaster wasn’t once again produced for something a bit louder. But the rampant applause as he cheekily waves to the crowd before departing the stage doesn’t lie; the man’s pulled it off.