I really don’t want to start on a sour note. This is a nice venue after all, but bloody hell it’s not easy getting in. Compounded by a batshit policy of closing the doors at 20:00 (there’s zero chance of that), the queue outside is insane. It’s well past that time when I get in and there are hundreds behind me. Once inside though (an hour later), I have to admit, as outdoor venues that aren’t really designed for mass crowds go, this one is quite pleasant. It’s busy, but there’s space. To be honest I was hoping it might be a bit more cramped. The sun has gone down and despite this being essentially a walled market, there’s still some wind and it’s a bit nippy. I suspect I might be in the minority feeling this though, we’re in Yorkshire after all and the locals are a hardy bunch. They’re also rather lovely. It’s a respectful friendly crowd that spans all ages and walks of life. A pleasant change from the usual mass of bald middle age men. Sorry lads.
Anyway, despite the wait, I don’t miss the start and there’s a ripple of excitement that resonates around the massive floor space and a hush decends as the band slide into ‘Prayer at the Gate’. It’s haunting and ethereal like much of the newer stuff that gets aired tonight and sounds pretty special.‘Autumn Term’ also from the latest album sees Polly dancing around the front of the stage like Kate Bush. It’s all very earthy. Bird sounds and forest noises interlude between songs and don’t get lost despite being outdoors. The sound mix in fact is stunning. These gentle folky melodies sound deftly delicate and sit just right under Pollys angelic vocal. The angst of the early recordings has been put aside of course, although there’s glimpses later in the set. ‘The Nether Edge’ still retains that confident power though. Helped perhaps by its monolithic drum beat and this leads nicely into ‘I Inside The Old Year Dying’ as the rain begins to drizzle. ‘A Child’s Question, July’ sees the bloke behind me blathering on about Stone Roses, which is annoying but predictable. There’s always at least one, but he buggers off for ‘A Noiseless Noise’ as the violin shreads like Cale and people head to the bars, possibly for shelter as the rain gets a second wind. ‘The Colour of the Earth’ is a better break point as Polly takes a breather and things go a bit idyllic English country fair. It conjures the feeling of heady summer afternoons, but the weather tonight really doesn’t match. I’m questioning my jacket choice as the wind whips the smoke from the stage and swirls it around as they drive through ‘The Glorious Land’. This has some real venom and it sounds amazing. The guy behind me, different guy now, declares he can go now he’s heard his favourite song. Stick around fella I’ve a feeling we’re in for a treat and that proves to be the case as ‘The Words That Maketh Murder’ follows. I maintain it’s the first two records that still really excite me, but I’ve got to admit Polly 2.0 is pretty magnificent too. Nothing like ‘50ft Queenie’ mind. This hits hard. I totally forget the rain, it sounds massive. Possibly even better with this band than it did in the 90s. Honestly I could go home happy now too… and wet. Have I mentioned the rain? The two John Parish collaboration albums were great records too and ones I’ve not listened to in ages, but I vow to correct that after hearing ‘Black Hearted Love’ again. It’s blissfully brooding with some rather lovely guitars solos. To be honest I don’t think I’ve heard it since its release. As ‘The Garden’ unfurls, I smell chips! Well I smell chips drowned in vinegar. I don’t even like vinegar but it’s intoxicating and momentarily distracting. I’m suddenly aware I’m stood out in the rain and it leads me to brave the ridiculous airport style queuing system for the toilets and change my vantage point for ‘The Desperate Kingdom of Love’. This is the last respite before the accelerator is depressed. ‘Man Size’ is brutal with its raw riff and vitriolic sleaze. The sound down the front was epic, but it still sounds pretty solid on the steps nearer the back and that violin sounds proper menacing. We’ve waited all night, but ‘Dress’ gets everyone singing and bouncing. Possibly to warm up, but who cares and I’d almost forgotten about ‘Down By the Water’, but seriously it’s probably the set highlight. Dark and twisty, the disturbing lyrics matched with that fuzzy bass rumble and the plucked violin. The smoke still swirling around the stage only adds to the cinematic majesty. She’s not said a word all night, but thanks us for coming and introduces the band with some fabulous French names… and Parish of course, before closing with a slow and wonderfully dirgy ‘To Bring You My Love’. The vocal much deeper, she’s really got quite a range which isn’t something I’ve really thought about before. It’s not an obvious closer despite its power, but then again it’s not the end really. The encore starts with ‘C’Mon Billy’ and ends with ‘White Chalk’ which to be fair aren’t obvious either, but this is what makes PJ Harvey interesting, not bowing to convention. She feels like an artist moving in her own orbit and tonight she’s celestial. Thanks to a much quicker exit, I managed to get back to the car before the heavens really opened. I do like The Piece Hall and I love PJ Harvey, but hopefully Manchester will be on the list for the next tour. In a venue with a roof.
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