Live Review: John Grant, Brendan Maclean

Brendan Maclean warms the crowd with a set of originals framed by hilarious banter that almost makes these tunes feel like amusing novelty songs. Maclean appears to deal in torch songs and show tunes, but closer listening reveals a darker, romantic undertow to his lyrics. The unashamedly camp presentation of his tunes gets the evening off to a decidedly quirky start.

John Grant looks like he means business when he takes the stage with tribal warpaint drawn on his face in what might be black marker pen.

Acknowledging that he is touring with a stripped-back band comprised of just a couple of keyboard players, Grant delivers a synth-heavy sound that embraces the electro-pop vibes of his last album Love Is Magic. Peculiar, almost Yazoo-esque synth squiggles introduce Tempest, which kicks off tonight’s show. The song breaks down into a lush psychedelic electronic soundscape, featuring an impeccable selection of sounds that suggests Grant has a deft hand when it comes to programming synths. Grey Tickles, Black Pressure is wrapped in swooning layers of velveteen synths.

Scaling down from a band-sized sound, Grant gets through much of the set by tickling the ivories of his electric piano. Global Warming rubs our faces in a problem of which everyone is painfully aware, and the lyric “Brazil does not need more encouragement” feels timely. Grant has always existed at the awkward intersection of folksy rock and '80s-styled electro-pop, and dance tunes like Preppy Boy and Metamorphosis have him pulling some hilariously daggy dance moves that leave him a bit puffed out. 

Tonight’s set lasts a generous two hours – there is so much to love on Grant's four studio albums – although Disappointing and Love Is Magic are unforgivable omissions on a setlist that sparkles throughout the evening. The darkness and drama of life reflected in Grant’s lyrical observations strikes a strong emotional chord with many in the crowd. Dreamy anti-homophobia anthem Glacier has quite a few in the audience shedding a tear or two. The bitterness of Queen Of Denmark's title track is delivered with a sardonic grin to suggest that the wounds left by an ex will heal with time. Saving the best for last, the real highlight this evening is the four-song encore that sees Grant at the piano dealing personal favourites mostly from Queen Of Denmark. 

As Grant gives us Where The Dreams Go To Die, TC And Honeybear and Caramel, it is all too easy to get lost in the reverie of these tunes. GMF from Pale Green Ghosts brings down the night, warts and all.