King Creosote is no stranger to Queen’s Hall. This gig was not his first Fringe appearance there either. ‘I know there’s a lot of competition out there, but nothing’s as good as this!’ he declared. Appearances were far from regal as Kenny Anderson settled down on stage with his extensive band, hugging an accordion to his chest. The hypnotic drone of the accordion underlying the songs in the first part of the gig, coupled with drumming and unassuming instrumentals from the guitarists flanking Anderson, created a sound akin to an Indian raga. After a twenty minute break was announced, an enthralled audience emerged blinking into the bar.
I came across King Creosote in a belated and roundabout way, through his collaboration with Jon Hopkins in the flawless, Mercury nominated album ‘Diamond Mine’. Tracks from the album were absent in the first part of the gig, so my ears were pricked and tear ducts full in case they were to crop up in the band’s return to the stage. I was in for a surprise. Having swapped his accordion for a guitar, Anderson tore through a rip-roaring set. Flicking through his back catalogue at a rate of knots, the musician I had known for his mellow, measured acoustic work got people pogo-ing to songs such as ‘Nooks’ and ‘Jump at the Cats’.
Then, whipping the carpet from under our feet, King Creosote plucked the exquisite ‘Diamond Mine’ track ‘John Taylor’s Month Away’ out of nowhere. It was an exultant rendition that had the audience gripped and me crying within seconds. We were never given much time for reflection however, as the band’s tireless jamming and lengthy set list left no room for stragglers. Anderson’s scruffy get-up and funny stage patter fuelled his fans’ delight and kept them singing, or rather shouting, along.
Despite the popularity of King Creosote’s more upbeat numbers, with ‘A Month of Firsts’ and ‘The Happy Song’ going down particularly well, I would argue (as un-biasedly as possible) that the best and most successful songs were softer and perhaps sadder. ‘Jerusalem’, ‘John Taylor’s Month Away’ and ‘Bubble’ stick in my mind for their pin-drop absorption and for showcasing Anderson’s vocal range, which hiccuped through the melodies and rang tender and true through the phrases.
‘It’s not good enough’, Anderson sang over and over throughout ‘Not One Bit Ashamed’, but this impressive performance was plenty good enough for his adoring audience. Long live the king.
