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Ben Howard does not do what is expected

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I leave with my audience, especially not to please, but to challenge, Ben Howard have thought of. And so swapped the folkpopidool his fiery hits in for warm guitars.

‘Boring!’ echoed loudly by just not flooding, Frost National when Ben Howard the encore began. He choked himself a little, but continued anyway stubborn ‘Sister’ further, …

‘Boring!’ echoed loudly by just not flooding, Frost National when Ben Howard the encore began. He choked himself a little, but continued anyway stubborn ‘Sister’ further, a number of a brand new mini-ep that just as his recent third album, Noonday dream little wrinkles caused. An intimate little gem that he brought on a synth, and that in a dark crevice between the vocoderfolk of Bon Iver and the elektrosoul of James Blake all the amenities.

The cry from the audience was reminiscent of that time when Bob Dylan ‘Judas!’ to his head thrown was because he electric went. Or better: not doing what the public expected him to do.

Ben Howard did in Brussels, namely not at all what the (typical)audience expected him to do: he played first, his Noonday dream from head to tail, threw two older songs and two new clusters and especially: doorbraakhits as ‘Only love’ and ‘Keep your head up’ and later public favorites as ‘Small things’ and ‘Conrad’ he tells me in his case. “Yesterday in Hamburg ran the people away,” he said with a monkellachje. “Thank you, however, are open for my new album.’

Ed Sheeran

The path of the British songwriter is bizarre. In 2011 he broke through with Every kingdom in the same year that Ed Sheeran’s debut + release. In the wake of Mumford & Sons were young troubadours with acoustic guitars and sun-folkpopliedjes when a large audience. But his success played the surfer dude from the South of England issue. The more Sheeran into the mainstream ogled, the further Howard away sent. On his second album dominated dark feelings and understated guitars. At Noonday dream, he changed even more melodies and song structures for gloomy post-rock.

We should not be cheering, jumping and dancing for so much individuality? Of course. Only was the uncompromising Howard in Brussels, served in the light of the great artistic floor does not always equally exciting. He had, however, eight musicians, two drummers, and a set of strings, to his impressionist landscapes with lots of detail to paint.

Strangely enough yielded are pollockiaanse dispensing with colors quite often shapeless views, like the dreamy images on the backdrop. He sang, no, wauwelde over night cigarettes and staring out to the sea, and many beklijvender than that ripple to the horizon was his show.

Lunatic world with a haven

Yes, sometimes it was the atmosphere well. As in “Nica libres at dusk,” in which guitars and long shadows danced on a dingy canvas. Or ” A boat to an island, pt. 2/Agatha’s song’, a piece of Eno-ambient but then coloured with the gritty slomogitaren of Crazy Horse. In ‘What the moon does, you could have your Pink Floyd imagine that a school of whales tries to seduce with thin, meandering guitar sounds. Also very nice: the soul unctuous ” Someone in the doorway’ and the glistening drops of melancholy hardening lullaby ‘Towing the line’.

Even pushed to the edge of our chair when Howard in the with Fleet Foxes-harmonies splendidly dressed klankspielerei ‘All down the mines (interlude)’ a piece of ‘Wild world’ by Cat Stevens poked. The cosmic noise of echoing guitars, and buzzing synths brought you to higher realms while at the movies people supermarkets stormed.

It is that crazy world in which Howard a haven are looking for. Only missed you are slowing pastoral post-rock savage starts his concerts used to be so intense made. ‘It’s not easy to be entertained’, he was convinced. That is true, especially if you the the people and yourself is not easy.

BEN HOWARD is Seen on december 4 at Vorst Nationaal, Brussels ***

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