Brilliant Kurt lets his music speak for itself
Kurt Vile and The Violators Ansom Rooms
KURT Vile looks like someone you might see perform at your local’s open mic night, but he’s proof that looks can be deceiving.
The Philadelphian singer-songwriter might have the appearance of a slacker, often sporting a chequered shirt and baggy jeans, but he’s been nothing short of prolific in recent years with seven solo albums to his name since 2008, as well as a collaborative LP with Courtney Barnett and two albums with rock band The War On Drugs.
His fanbase grew by some size with the release of Pretty Pimpin, the first track from 2015 album b’lieve i’m goin down, which went straight to number one on Billboard’s adult alternative charts, sitting alongside the likes of Mumford & Sons and Coldplay.
But ahead of Bottle It In, which was released in October, he warned it wouldn’t appeal to a wider audience in the same way, with a deliberate lack of structure which sees tracks almost bleed into each other.
That didn’t deter a crowd of around 1,000 at the Ansom Rooms, though, who relished every minute of his set.
He takes to the stage in typically understated fashion and launches straight into Loading Zones, the recent album’s brilliant opener, which immediately showcases the stunning musicianship of both him and his backing band, The Violators.
Aside from the four musicians on stage there is nothing else; no flashy lights or banner with his name on, a common feature of many acts, which really allows the music to take the limelight.
And similarly there was minimal chatter from Vile throughout , just the occasional “woop!” which was met with a smattering of people echoing it back to him each time and the odd offering of appreciation for the crowd, “Hey Bristol, you’re beautiful.”
He cuts a somewhat awkward figure on stage as he repeatedly tucks his long locks behind his ear so he can see his guitar, but that only adds to his unique, likeable charm.
Lengthy and inventive guitar riffs, which Vile has become well known for, come into their own on tracks such as Bassackwards, quite possibly the set’s standout moment, and Wakin on a Pretty Day, while slower tracks such as Skinny Mini and Wild Imagination have the crowd completely rapt, almost in a trance-like state.
The aforementioned Pretty Pimpin kicks off the deserved encore, unsurprisingly drawing the biggest crowd reaction of the night, before a cover of Bruce Springsteen’s Downbound Train puts the icing on the cake.
It was a performance devoid of gimmicks and surprises, just brilliant songs performed by an exceptionally talented musician and a backing band equally as gifted.