It’s a cold night in Sheffield with the threat of snow looming in the air and the streets gritty underfoot. Walking through the city centre, we find our way to the grand City Hall, a beautiful venue and the perfect location for a performer such as Beth Hart, whose remarkable talent deserves exactly such a setting. Joining the queue to get inside the venue (well-managed by friendly security guards), we quickly find our way to an interior that is every bit as lovely as the exterior, thanks to a breath-taking glass ceiling. It adds a sense of grandeur to the occasion, as does the candle lit stage set.
Once again trading the boards with Beth, we have fast-rising star Kris Barras. Paired with Josiah J. Manning, the studio genius behind his two albums, Kris jokes that it should be called the Josiah J. Manning band as he points to the various contraptions at Josiah’s feet (a kick drum stomp box and a bass synth pedal kit). It is, indeed, a wonderful, full sound that the duo produce, whether playing their own material or a glorious cover of Allman Brothers favourite Midnight Rider, and the rapturous response they receive suggests that those members of the audience not already on board, are fully converted by the end. A short set, Kris gives us only the very best from Light It Up and The Divine And Dirty, blazing through What You Get (complete with an extended solo), Rain, Vegas Son and, wonderfully, Hail Mary, which loses none of its power in an acoustic setting. It’s a great start to the night, leaving the crowd admirably warmed up for Beth’s scorching set.
Few artists wear their hearts so openly upon their sleeves as Beth hart. Where, for some, this might become an uncomfortable experience in the live environment; for Beth and her fans, it is never less than transformative, as artist and audience forge an unbreakable bond. Beth’s rare ability to tread the fine line between down-to-earth and larger than life means that she can make the largest stages seem intimate, whilst simultaneously dominating the room.
As if to prove the point, Beth opens with an acoustic version of Lullaby Of The Leaves, backed only by guitarist Jon Nichols. Initially sat on a stool, she quickly kicks it away, perches on the side of the stage and delivers the track directly to the audience. It’s a charming gesture, as unaffected as it is spontaneous, and it instantly bridges any perceived gap between audience and performer. Next, the band are introduced for an emotional Soul shine before Beth absolutely lets rip on a gargantuan Can’t Let Go. Dragging the audience to their feet, Beth takes complete command of the City Hall; getting a sing along going, interacting with the audience with a wild light in her eye, and dancing like a wild thing as her band slam through the track. It’s exhilarating, heady stuff, and Beth’s not done by a long shot, heading out into the crowd to hug a number of ecstatic audience members mid-song. In any other performer, you’d wonder if the move was calculated, but just one look in Beth’s eyes as she passes our row shows this to be an unplanned walk on the wild side, with an audience that she can’t help but think of as friends. As for Can’t Let Go, quite aside from being an awe-inspiring piece of music, it tantalisingly raises the prospect of Beth fronting a full-blown hard rock band… well, we can dream.
In contrast (and a necessary one at that), the smoky soul of Close To My Fire provides audience and band alike with a chance to draw breath. Delivered with gusto, it still pales next to remarkable newbie, Try A Little Harder. A song written for Beth’s father, it’s a fantastic piece of music that takes on new life in the live environment. It’s also at this point, with the grand piano thundering, that you have a chance to realise just how astonishing the sound is in this venue. Every element is crystal clear, and it’s so wonderful to hear Beth and her exquisite band in such a setting. It’s the icing, you might say, on an already flavoursome cake; but it makes all the difference, and when Beth hits those keys, the sound just flows right through you.
Passing through the always wonderful Bad Woman Blues, the highlight of the night hits home when Beth delivers the fantastic Rub Me For Luck, another excellent cut form recent album War In My Mind. A glorious, cinematic piece of music (written for Joe Bonamassa), it’s the greatest James Bond theme never written and, when it explodes, Beth’s voice simply soars above the band with astonishing power. This is Beth at her most bombastic, and it has a number of the audience on their feet at its conclusion, one of many ovations that Beth receives throughout the night. From there, Beth can literally do no wrong. A slinky cover of Tom Waits’ Chocolate Jesus is great fun, an audience request for Picture In A Frame is duly delivered, fumbled-and-caught in the most charming manner possible, and then fed into Momma, This One’s For You; all the time with Beth telling the stories behind the songs and utterly beguiling everyone present.
It’s a remarkable night, one in which the time flies and the only constant is the urge to leap from the restrictive seating once more to sing along at the top of your lungs. Who else, in an utterly packed room, could sit at the piano and make it seem like they’re singing exclusively for you? Whether laughing or crying, raging with the full band or playing solo, Beth Hart is an artist as utterly in control of her medium as she is spontaneous in delivery. It means that every show is unique – an event in its own right, and the hushed tones of the crowd as they wander out into the night suggest that not a soul leaves disappointed. An artist to treasure, Beth Hart is one of the finest vocalists on the planet and, wherever she heads on the next album, you just know that it’ll be a journey worth taking. Simply wonderful.
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