Watching football, especially England is stressful. So instead I’m nestled in the tranquil Bridgewater Hall with a couple thousand like minded souls to let the music of Nils Frahm wash over, around and more than likely right through us. Frahm to the uninitiated deals in an experimental mix of electronic, classical and avant garde sounds to score your peace of mind. I’ll chalk my name on that uninitiated list to be fair. He’s the sort of thing I put on in the background when I need some focus or to relax. As a result, I couldn’t name a single track. There’s no vocals to get in the way you see and anything that ties this music down in any way seems a bit pointless to me. It’s all about the mood created or vibe if you like. My first proper introduction to Frahm was the concert film ‘Tripping with Nils Frahm’, an exceptional production recorded in his hometown Berlin. I’d heard his music before, but I watched that in lockdown in a heightened longing for live music and vowed to see him live at the first opportunity. Tonight he cuts an unimposing figure in his black beanie taking to the large stage, filled with a dizzying array of kit all on his own. He’s close too, I’m right down the front in this impressive space. I don’t think I’ve been this close since I saw James perform in here with an orchestra. This is a very different gig to that, but this venue does bring its own air to the events it hosts. It rubs off on everyone, including the audience. Many of whom look like boffins who could play half the vintage equipment that creates a bunker for Nils on stage. That bunker is slightly problematic at times, hiding him from my stage right perspective. So I’m not too sure what he’s playing as he dons some gloves, casts some salt in the air and gets to work. What’s produced though are sharp string like tones that make way for warm Parisian waves. The sound is sublime and my view improves as he moves from one instrument to the next. It’s epic stuff, drifting through the heavens and soaring across vast open vistas. The mind conjuring amazing places. Loops build with jazz breaks, electro squelches and an impressive intensity matched by the sparse lighting that responds to each new element deftly layered on. The sound is immaculately crisp as you’d expect from a concert hall, but I’m not sure I’ve ever heard anything quite like it live. You can hear the breakbeat of the drum machine bounce back off the walls, it’s very satisfying. Frahm seems nice too, thanking us for choosing “music over sport’” and apologising for the delay in returning to our shores, with a little dig at Brexit. He asks us to make animal sounds which he’ll record and loop into the intro of the next piece. This could go terribly of course, but works surprisingly well. Although the initial process sounds like a madhouse. He certainly knows how to create an atmosphere with melodies weaving in and out of one another, percussion intertwined. The swell is stunning, rarely have I heard live something that sounds so well produced. Every detail is there, the fragile quality is magnificent and for all the bombast, it’s some of the more toned down moments that provide something truly captivating. Bringing me close to tears at times. The soft gentle piano pulling at the heartstrings. For what could be perceived as challenging music, it’s a very accessible set. Crowd pleasing. With club like avant garde bangers, smoke filling the stage. Frahm works like a DJ, even looking to the crowd response. Granted we’re all seated, but personally I’m floating. I’m not sure what I was expecting, but not to be this moved. It’s a perfect set. Brimming with magic and majesty. I’ve seen some great performances in here. That aforementioned James set, Nick Cave, Spiritualized, Kraftwerk! but I think tonight this charming pioneering pianist may well top the lot. The football went well too.
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