Live Review: Beth Orton, Alexander Gow

Church gigs are beautiful, but don't really allow a lot of mingling or atmosphere building. Strangely, this gig also allowed a level of judgement that doesn't normally rear its head, as support Alex Gow got the most accusatory heckle EVER, all because he didn't give his name while standing on an alter. It was bizarre, but also a brilliant way for the young 'un to show his chops and win over those who were just fence sitters up to that point. That said, there was still something unforgettable about the experiment, least of all as Orton battled demons, devils and a virus through her music. Her cold wasn't evident until she pointed it out, but towards the end of the set it was clearly winning in her mind, so much so that she stopped and started a few of her most famous songs, ending with a climatic version of Central Reservation where the spirit willing, flesh weak battle left Orton proclaiming that she was 'literally about to cry', then stopped singing and strummed a few bars, before leaving the stage, tears streaming. She returned to a thunderous applause and after apologising and saying “I just really miss my kids and want to go home”, even the hardest critic wanted to just give her a hug and a warm cuppa. Orton still has the wispy presence of the early 2000's, but increasingly a vision that Joni Mitchell shows as she ages – a knowing, committed love to simple slow storytelling, but a sweet humour she lets creep out when you're least expecting it to. While still self conscious (Orton stopped a phone camera saying 'this can't be forever, just for now') oldies She Cries Your Name, Pass in Time and Stolen Car were given new life, while contemporary stuff like Dawn Chorus and Mystery also impressed.