quiet paws.

In other grand adventures recently undertaken at the Brisbane Finders Keepers markets, I found this gorgeous little embroidered tissue cosy by Edward and Lilly (seriously how cute is this sausage dog?). It was really hard to choose which coloured print to go for (as there were many pretty combinations on offer), but for some reason this pinkish-apricot one was my favourite.

I do my best to use fabric handkerchiefs whenever I can, but during some seasons and on some occasions tissues are much more appropriate. Instead of throwing random tissues somewhere into my handbag, I’m now able to keep them very well organised in this lovely little pouch.

Ever since I visited my Aunt’s house as a child and fell in love with her adorable little sausage dog, I wanted one of my one. So in one of those strange quirky twists of fate, now I’ve finally been able to fulfill that childhood dream and carry my little dog with me everywhere. Happy days indeed!

If you’d like to pick yourself up one of these beauties, you could visit Edward and Lilly’s etsy store where you’ll hopefully find some still in stock (if not there are other sausage doggy treats to tempt you!).

The day has to of course begin with a wonderfully cute, awesomely comfortable pair of shoes (in my case a pair of Black & White polka-dot boots from ShoeShoe) which are perfect for driving and for walking.

After a quick wander through the Valley Markets it was time to indulge in a very, very late breakfast at our establishment of choice, Kaliber. Here we discovered that the food and coffee is great and very reasonably priced (think $6 for most breakfast dishes and $3 large coffees). While we opted for the poached eggs on toast, next time I think I’ll be swayed by the ‘homemade pancakes served with mixed berries sauce, maple syrup and whipped cream or ice cream‘…

As we dined we were treated to the wonderful musical stylings of Danny Widdicombe – a wonderful Brisbane musician whose music is a little bit country, a little bit folk, a little bit traditional lounge, and a whole lot of cool (his song ‘Give Me Just One More Chance‘ is now a firm favourite).

Then off to do a little more browsing…a path which eventually found us exploring some of the beautiful, amazing, unique range of stores in the TCB centre. Somehow we managed to avoid temptation and simply appreciate (rather than buy) all of the beautiful clothes at Subfusco and the absolutely stunning range of men’s and women’s shoes at Vein Wear.

Jumping onto a bus we headed out to the Brisbane Powerhouse to view the World Press Photo exhibition which showcases the world’s best press photos of 2008. While I felt that the display let the exhibition down (the rooms were too small, too dark, and the images were positioned in such a way so that it was hard to stand and contemplate them without getting in someone else’s way), many of the photographs were incredibly moving and very powerful. My favourite photo was an image of Michelle Obama napping on her husband’s shoulder by Callie Shell.

Rounding out the afternoon with some bakery goodies from the old-school bakery, ‘Baker’s Crust’ in McWhirters (my indulgence was a mini lemon meringue pie with a secret chocolate base), it was time to head home and rest our weary heads…

…and so ends a wonderful Saturday in June spent enjoying the sights, sounds, smells and tastes of Brisbane.

I’ve always loved coffee. Even before I started drinking it on a regular basis, I loved the smell of it – rich, sweet and woody goodness. Coffee was my greatest support throughout the long years of university study, it’s accompanied me to deep and meaningful catchup sessions with family and friends, and it makes the morning just a little easier to face. Let’s face it, without coffee I really wouldn’t know where I’d be.

In pursuing my coffee addiction, I was never much of a discriminating drinker. I’d simply go wherever ‘real’ coffee was available at a pretty good price. But that all changed when Tracey met Di Bella.

It was always destined to be a match made in coffee heaven. So much smoother and sweeter than any coffee bean I’d ever tasted, I suddenly became obsessed with their blends, going out of my way to frequent cafes that used them. I had become a coffee bean brand snob.

So I went a little nuts last week at the Brisbane mid-week Farmer’s Markets and stocked up on not one, not two, not three, but four bags of Premium and Swiss Water Decaf beans.

There is honestly nothing quite like the luxury of being able to freshly grind coffee beans at home for the perfect cup of coffee. But don’t worry, you don’t have to tell me, I know I have a problem…

This is the first of three ‘things’ which have recently returned to me…my apologies for those not living in Brisbane who may find this post has little relevance for them in content. However I’m sure you’ve all experienced the same kind of thing in your life – where those precious things (which can become precious for any number of reasons) that you thought had disappeared forever, one day pass into your life once more.

So what seems like it was an age ago, when it fact it was exactly eight years ago, some work colleagues told me about a restaurant in Brisbane that sounded like a place which I would really like to go to. I vowed to one day book a table at this restaurant.

Fast forward a few months and I’d moved to Canberra, and given that I was now living in another state and had other priorities (such as starting a new job and getting married) thoughts of this restaurant had passed from my mind.

Several years passed by and I eventually returned to Brisbane though once again had other priorities on my mind other than finding obscure restaurants (such as trying to find a new house and find a new job). After a while from time to time I would find that I would try and remember the name of the restaurant. Unfortunately though I didn’t have too much to work with, really just a vague description. I knew that it was an Asian restaurant, that tables were screened off for privacy and that it was located somewhere in ‘the Valley’. Try as I might whenever I plugged in those loose bits of information into google, I invariably came up empty.

That was until a couple of weeks ago when I was idling away some time on the computer trying to find a decent vegetarian breakfast place in Brisbane (no easy feat), and found myself on a food review site. While I found no mention of good veggie breakfast food, I did find a lengthy discussion on an Asian restaurant in the Valley which was famed for great food, and privately screened off tables…I’d finally found my restaurant.

Apparently Garuva advertises only by word of mouth and therefore doesn’t bother with expensive marketing campaigns, so no wonder it took me so long to find it. So after many years of wondering and searching, now I just have to book a table and hope that it is as good as I think it will be.

With exposed wooden floor, subtle lighting and patiently waiting instruments, the stage was quiet and still, like a stagnant body of water which lies absent of life and devoid of life-giving oxygen. And then a whisper of air builds and quickly rises into a breeze which flows across the surface of water, stirring it into action and unleashing a chaotic clashing of waves which travel from one side to the other. In such a way the stage wakes to life in hushed reverie as PJ Harvey enters the concert hall. Suddenly the heart and soul of the stage unites in perfect harmony with her presence. The performer has arrived.

She does not rush, she is calm and at peace as she wafts across the stage in a lyrically inscribed Edwardian dress. Similar though to our surface agitated body of water which stretches away to unknown depths, there is a slight feeling of tension below the surface which takes several songs to dissipate as Harvey relaxes into the performance.

Harvey is a surprisingly energetic and warm performer, and while she stands alone on stage she does not feel lonely. Surrounded by an array of instruments (piano, acoustic and bass guitar, zither, keyboards, harmonica and percussion), a sprinkling of fairy lights and tiny animal figurines she casts a spell of ethereal beauty and dreamy creative energy, yet at the same time exudes a commanding strength of spirit. Her only other occasional stage companion throughout the evening was long time collaborator Mick Harvey who accompanied her on piano.

While the purpose of her visit to Australia was to showcase work from her latest album ‘White Chalk’, Harvey would not have disappointed long term fans as she drew widely from her extensive back catalogue of music. Highlights from Harvey’s early nineties albums included emotionally raw and passionate performances of Rid of Me, Bring You My Love, Down By the Water and Send His Love to Me. Her intense stage demeanour is absorbing as she brings poetic drama to her musical stories infused with anger, love, loss and desperate longing.

It is no surprise though that some of the best songs of the evening featured from one of my all time favourite albums, the 2000 release ‘Stories from the City, Stories from the Sea’. Horses In My Dreams was delicately delivered, conjuring up an extraordinary sense of hopeful space and freedom. Big Exit was the perfect contrasting piece, a rough and raucous description of a dangerous and unstable future. From ‘Uh Huh Her’ the standout for me was The Desperate Kingdom of Love, a stark and sad tale of the personal journeys we make in the name of love.

Of course most of the evening was given over to material from White Chalk, and with this album PJ Harvey demonstrates her unwillingness to maintain the status quo artistically, she always looks to push herself further on to a new creative plain. This is especially clear with the incorporation of the piano into her repertoire – a new instrument for Harvey, and also her stripped back vocals which display a greater fragility and higher pitch than previous recordings. Title track White Chalk typifies the feel of the entire album which seems more grounded and natural than earlier work, exploring the organic connections which exist between people, places and the environment.

Grow, Grow, Grow raises questions of how love can be found and cared for, Silence offers a remembrance of the obliterating focus of love, When Under Ether travels to that unseen place where things are not as they seem, and The Mountain has us soaring above the world as we gaze down on the broken things that lay below. So much beauty radiated on this one evening in Brisbane that it is too difficult a task to separate the musical roses from the bountiful display on offer.

PJ Harvey is a rare talent who presents a dazzling range of styles and sounds. She is elegant and refined, yet unafraid to challenge musical categorisation and pre-conceived expectations of how a song should be arranged and the way it should make the listener feel. She is a true evolution in progress and we are fortunate indeed to be able to grow alongside her.

A star spangled banner formed the dramatic backdrop to Rufus Wainwright and his seven piece band at their recent Brisbane performance. However the banner in question was far from what one would traditionally expect from an American flag. As pointed out by Rufus at one point throughout the evening, the flag was painted in black and white stripes to represent all the bad things about America, and instead of the usual depiction of stars, the banner was garnished with an assortment of brilliantly metallic brooches to represent all the beautiful things about America.

The banner’s theme was reflected by the band’s attire, which instantly grabbed the attention of the eye as they made their entrance onto the stage. Each band member wore a wide array of coloured striped pants and shirts reflective of their own individual style. The stunning display did not end there, as every member of the band was also richly decorated in a variety of uniquely styled brooches that glistened and sparkled under the lights. Taking to their instruments with relish, there was an unmistakable energy in the room as the music paved the way for the eventual entrance of the glorious Rufus Wainwright.

Without too much delay he arrived, and the theatrical troupe was now complete. As wonderful as all the band member’s looked, Rufus most definitely outshone them with his fantastic red and white striped suit (minus a shirt), gold metallic shoes, and an almost startling collection of jewels which he seemed to wear wherever bare skin was available – fingers, wrists, and around his neck. His fabulousness was completed by a healthy smattering of silver brooches across his suit jacket and down his pant legs.

Launching straight into the title track from his latest album ‘Release the Stars’, the room sparkled in dancing-mirror-ball-magic and was hushed in appreciation of Rufus’ mastery of dramatic showmanship. And what a show it was! In the audience it felt that Rufus and his band would perform with the same level of intensity and pizazz regardless of where they were performing, whether that be to a packed house on Broadway, or a venue built on a much smaller scale such as Brisbane’s Tivoli.

As to be expected, the night’s musical set drew heavily from the current album’s repertoire including ‘Do I Disappoint You’, ‘Between My Legs’, ‘Rules and Regulations’, ‘Going to a Town’ and ‘Not Ready to Love’. One of the standout highlights from this album was the beautiful simplicity and raw honesty of ‘Leaving for Paris No 2′ which featured Rufus on piano accompaniment.

There was more than enough on offer to please fans of his earlier work as well, including ‘Poses’, ‘Gay Messiah’, and a wonderfully emotionally wrought performance of ‘The Art Teacher’. Rufus worked the room with so much more than his musical talents. His costume changes could not fail to be mentioned given that they added so much to the ’show’.

Following a short interval, the band returned with Rufus decked out in traditional Bavarian lederhosen. However rather than lose all the sparkle, he chose to retain the beautiful necklace and flashy bracelet from his earlier outfit – a wonderful blend of masculinity and feminine beauty. Between songs Rufus enjoyed a comfortable banter with the audience, telling us of his liking for Byron Bay Surf lifesavers, pronouncing himself as the ‘Queen of Queensland’, and his generally unsuccessful attempts at tackling an Australian accent.

With a raucous rendition of ‘14th Street’ ( Why’d you have to break all my heart?) which raised the performance energy to a higher level, Rufus exited the stage and left his band to individually ’sign off’ musically and exit one by one. It was a visual representation of parting being ’such sweet sorrow’.

The stage was not left bare for too long however. After all there is always time for one more costume change, and Rufus did not disappoint. Returning to the stage in a large white bathrobe, the only hint of what lay beneath was a glimpse of stockinged legs. After performing for a short while like this, the play entered another act. Sitting on a chair at the front of the stage Rufus made as if he was sneaking into his mother’s precious things – jewelling himself up once again with earrings and a ring, before applying a rich red lipstick and swapping his sensible shoes for some seriously high heels.

Then as the band returned to the stage all in black suits, bowties and pale pink shirts, Rufus moved to the back of the stage to disrobe…and then all was revealed. Wearing the top half of a tuxedo, hat, and just the stockings beneath, Rufus ramped up the razzle dazzle factor with a fun performance of Judy Garland’s ‘Get Happy’, that had everyone on stage play acting along with the best of them.

With a traditional stage goodbye which had the cast line up before us and take a bow, the band left the stage with a kiss blown from the hand of Rufus. A fitting end to a lovingly crafted performance.

Bearing witness to something incredible within its natural environment is a truly wondrous thing. Coffee always tastes better first thing in the morning, grasped between two cold hands. Roaring fires provide the perfect accompaniment to cold wintry days. Wildlife is best appreciated in the remotest parts of nature. This is not to say that the experiences outside these natural settings wouldn’t be enjoyable, but they just don’t feel as balanced as they would otherwise be.

So was the fortunate experience of witnessing Pete Molinari at Ric’s Bar in Brisbane. While seeing him three days previously at The Living Room in support of Ash Grunwald was pure magic, his latter performance was more fluid, more ‘in the moment’, and felt more him.

For any support artist, as Molinari was to Grunwald, it must be a unique experience to perform to a crowd that are obviously not there to see you and may or may not give themselves the chance to appreciate your performance. While the crowd gradually grew in numbers during Molinari’s performance, it was obvious that the majority were more interested in enjoying a not so quiet ale until Grunwald arrived.

That need to get the right mix of venue, crowd and artist was obviously a dilemma Molinari had recently faced. Taking to the stage for his solo set at Ric’s he mentioned that it had been strange for him because he had been playing a lot of surf gigs. He spoke of the audience reaction, ‘The more they liked it, the more I didn’t like it, and then the more they seemed to like it. In the end we came to a mutual decision and we both kind of liked it…this venue is much more my style, it’s very New York.’

At Ric’s, Molinari was the starring act. When he started playing his guitar and singing his tunes, people passing by were lured in, unable to resist the call and charm of his songs. Telling us that he hadn’t even had a chance to put together a set list for today, he appeared to be completely relaxed and turned in a sublimely attuned set which included some tracks from his album (Walking Off The Map), some tracks not yet released and some excellent covers.

Starting with a track from his album, ‘Love Lies Bleeding’, this is a song which exudes a subtle delicacy in both lyrics and melody. The feelings and sentiment it conveys hang in the air and leaves listeners in awe of its sad and soulful charm. Then to one of his yet to be released tracks, ‘New York City’, which is a lament to all that is loved and loathed about a city, the days when it can seem like your best friend or your worst enemy, but through it all the city is always there. Another yet to be released track, ‘The Man That I am’ is like experiencing a folksy blue embrace. Filled with yearning, hope and honesty, this is a ‘real’ song delivered with poetic rawness, and accompanied by some emotive harmonica playing.

Covering the classics in charming style, Molinari delivered a richly textured rendition of Hank Williams ‘My Heart Would Know’. Like everything he sings this song in a way which strikes right to the heart, and in captivating fashion so that time feels like it stands still while it too pauses to appreciate Molinari. Getting in touch with his European heritage, Molinari launched into a beautiful and intensely energetic version of ‘Marina’, performing verses in both English and Italian. With his unique and wondrously real vocals, Molinari had the girls dancing and the guys tapping their feet. Then sampling a bit from the country side of the tracks, Molinari closed his set with some Cash. His ability to be very much in a moment, all heart and soul, is what helps to make his version of ‘Folsom Prison Blues’ so spine tingling good.

Molinari is a masterful performer, snappy dresser and all round nice guy…the spirits are contented, the world breathes easy and all is as it should be.

The stylishly laidback underground bunker that is The Living Room was the perfect venue for the seriously cool Ash Grunwald. First up though was a performance from UK artist Pete Molinari, in Australia to promote his debut album ‘Walking Off the Map’. Still suffering from jet lag he warned us that he ‘may fall asleep during this’, but with his raw vocals and emotive delivery it was impossible for the audience to suffer from the same problem.

Performing a comprehensive set which included the heartfelt ‘Love Lies Bleeding’, and the beautifully sorrowful ‘Tomorrow Is A Long Time’, Molinari was an engaging live performer.

Just as the crowd really started to bubble over with energy and barely concealed anticipation, Ash Grunwald took to the stage, instantly spreading a sense of calm throughout the excited mob. With his unmistakable dreadlocks, chilled out surf vibe and commanding yet unaffected presence Grunwald is clearly at ease with performing live, minus the arrogance and ego which is often part of the package. He is also a master at connecting with his audience, conversing with them on a range of topics throughout the night and encouraging them to ‘boogie’ and join in with the vocals. However he didn’t want any half-hearted efforts with the singing, at one point complaining that he couldn’t hear any ‘larynx hurting yet’.

Performing a smattering of tracks from each of his releases, there were no gaps in either musical quality or quantity. His jam packed set included the mellow chilled out bluesy beats of ‘Take the Drop’, the cautionary tale ‘Money’, the howling ‘Smokestack Lightning’, and the languorously paced ‘Just Be Yourself’. As for highlights, it was hard to go past the refreshing beach inspired song, ‘1976 Coaster’, which really got the place buzzing with its intense energy. Another particular crowd favourite was ‘Skywriter’, which is as Grunwald puts it ‘about a crazy guy’. With its darker grittier sound and amazing low range vocals, this song showcases Grunwald’s impressive storytelling talents to full effect.

Given the interactive and relaxed nature of Grunwald’s performance, the night was not solely about music, there was much laughter and conversation. However discussion of the evening had to go to the serious assessment of Grunwald’s shoes from both a stylistic and practical perspective. While he recognised that he had some strong views on the matter he thought it best if he ‘got off this whole shoe politics thing’.

Announcing to a disbelieving crowd that this would be his final song, Grunwald really let loose and rocked out hard to ‘Going Out West’, taking the opportunity to ‘unleash the boom’ a few more times. Making moves to pack up his gear, Grunwald conceded ‘Well I’ve gotta do an encore cause you guys absolutely rock’, before launching into one of his signature tracks ‘Dolphin Song’. This real life tale about being saved from a shark by a pod of dolphins told with humour and in traditional bluesy style, was an entirely fitting end to a very satisfying musical evening.

I originally wrote this article for ‘The Dwarf‘.

It was always going to be an interesting mix of people who would come together to to see an enigmatic living legend like Vashti Bunyan. Loyal fans since her original release rougly thirty five years ago were there, as were those who have obviously only recently discovered her music, being of a younger persuasion. However until Bunyan took to the stage later in the evening, we were firstly treated to some wonderful support performers.

Local Brisbane soloist Lee Fielding was first up, and while his time was short, alternating between guitar and banjo he certainly made sure that what he shared was all quality. ‘Reinvent the Wheel’ could be described as mellow country blues and features honest lyrics which are delivered with raw emotion and fragility. He is a grounded performer who has the gift of filling his songs with warmth and reality. ‘My Michelle’ was a highlight, a beautiful love song written for his wife, who was also in residence on the night. While delivering a rich set of his own work, Fielding also covered the Pete Yorn classic ‘Splendid Isolation’ with perfectly restrained energy and truly emotive interpretation.

It was then time for another local Brisbane act, The Kindness of Strangers to share their own unique musical stylings. The four member band offered an intense and intimate musical experience. With poetic lyrics, emotive renditions and amazing original compositions they are something best experienced in person to fully appreciate the balanced vocals and perfectly matched musical accompaniments which included the flute, percussion, guitar and ukulele. Standout track, the sublime ‘Ghost in Love’ was performed with emotion and heartfelt meaning; a ukulele has never sounded so beautiful.

When the time came Vashti Bunyan and her two band members Jo Mango and Gareth Dickson took to the stage in subdued and humble fashion. She is softly spoken and somewhat shy, but when performing it is clear that she is a musical artist who stands the test of time. Performing a comprehensive set of music from both her 1970 debut ‘Just Another Diamond Day’, and her 2005 follow up album, ‘Lookaftering’ it was a pleasure to witness a folk master in the flesh in all her simple pared-back glory.

With her delicate traditional folksy vocals Bunyan is a mesmerising live performer, providing her audience with many spine-tingling moments. From the readily connective ‘Here Before’, to the playfully joyful ‘Hop Along Bess’, to the singular beauty of ‘I’d Like To Walk Around In Your Mind’, Bunyan’s heartfelt lyrics and emotive delivery is perfectly complemented by the fragile simplicity of her musical arrangements. Nothing is over or under done; without ever hearing her songs before they all sound exactly how you always expected them to be. She sings pure poetry that is never abstract or difficult for listeners to reach, hers is a lyrical gift that can conjure up vivid visual landscapes with just a note, a word or a particular phrase.

Obviously also very proud of the songwriting and vocal talents of her band members, Bunyan invited each of them to perform one of their own songs. Dickson performed the song that so impressed Bunyan when she first heard it that she invited him to join her band. ‘Two Trains’ with its dragging vocals and incredibly deft guitar backing worked its magic once again, gaining a very warm reception from the audience. Equally impressive was the heartstopping simplicity of Mango’s song ‘My Lung’ which showcased her incredibly diverse musical talents and deeply reflective and rich lyrics. Bunyan was very keen to promote Dickson and Mango as musical artists in their own right – high praise indeed, but in this case completely warranted.

Bunyan dazzles not in the obvious way of a diamond or precious gem, she glimmers in a more real, more grounded way. Listening to her music triggers a response like you would expect to feel when reaching a cool oasis in the desert or when sighting land after months spent at sea…that sense of relief, comfort and peace which washes over you and is like being warmly welcomed back home. Bunyan weaves intimate stories to reflect upon, and with their basis in her own experiences she brings those stories to life with her words and her subtle melodies. More than you would ever expect, she glistens.

The theatre lights dim. A single spotlight lights the stage. The inimitable Australian blues master CW Stoneking walks onto the stage in black suit and preacher’s hat. Like any well-mannered southern gentleman he is unfailingly polite and a man of few words, preferring to speak through his music. His main conversation centres on his songs themselves, ‘Gonna play some tunes now…and they go a little something like this’. Channelling his stage presence from a time long past, he bathes the audience in reflected light from his steel guitar and commands attention with his full-bodied vocals.

Opening with ‘Goin’ The Country’, Stoneking played a wonderfully rich set, including a number of tracks from his debut album ‘King Hokum’. A particular highlight from his performance would have to be ‘Handyman Blues’, a beautiful soulful lament to time spent working hard as a jack-of-all-trades. Another standout was the stunning ‘She’s a Bread Baker’, a love song of sorts enriched with a light touch of comedy. With gracious thanks, CW Stoneking quietly withdrew from the spotlight, leaving the audience alone once more.

It was then time for the lady in question to grace the stage. With a stage presence and musical performance best summed up by her shoes – simple, elegant and unassuming, Madeleine Peyroux is instantly entrancing. Accompanied by her three piece band Peyroux launches straight into the sultry blues of ‘Blue Alert’, her voice all smoky warmth and smooth layers. With a nod to CW Stoneking, Peyroux declared that seeing as we’ve had blues from the boy’s view of things, it was ‘time for some blues from the ladies side’. And boy did she deliver on those words.

Peyroux and her band made the audience feel at home, with the band themselves seeming to enjoy playing the music just as much as those who were there to listen to it. The night was like bearing witness to four friends who enjoy hanging out and jamming with eachother. Peyroux in particular brings a calm and joyful peace to the stage, displaying the feeling of contentment that comes from sharing her passion with others.

Performing a comprehensive range of songs from each of her albums, she provided a wonderful balance between her own original compositions and the most amazing covers a person could ever hope to hear in their lifetime, ranging from Leonard Cohen, Bob Dylan, Tom Waits and Randy Newman. Keeping up a comfortable conversation with the audience, she introduced her song ‘Careless Love’ and asked the audience whether they knew the story of this song. She expanded, ‘Have you ever been careless with something?’ The song then followed with rich soulful vocals, displayed effortlessly against a beautiful soaring melody.

On a night where Peyroux provided so many spine-tingling moments, it is difficult to choose the standout songs. Her selection of covers to perform and her interpretation of those songs were quite simply sublime. With ‘Everybody’s Talking’ she slows the pace, styles her vocals in deliberate and delicate fashion and creates a song that is like a work of art to admire and appreciate. ‘Half the Perfect World’ is a blues song with real meaning. Peyroux’s vocals are delivered with emotion and she conveys intimate feelings and thoughts with effortless elegance. Peyroux and her band provide the perfect balance between musical accompaniment and vocal performance, both are critical yet nothing is overcomplicated; everything is delivered with stunning simplicity.

One of the highlights of the night had to be Peyroux’s performance of ‘Smile’, which was delivered with heartbreaking beauty, conveying strength and fragility at the same time. Delivered with tenderness, and showcasing the amazing depth of her voice, Peyroux’s vocals were at their silk chocolaty best. Following this, and with a bow to the audience, the stage was emptied. Thankfully we didn’t have too long to wait for their return.

Treating the audience to just a little bit more, the encore was a valuable addition to the evening’s entertainment. With a sublime performance of the jazzy ‘Walkin’ After Midnight’, Peyroux uses perfect pace and an uncomplicated arrangement to conjure up visuals with her voice. The final song of the night was appropriately one of Peyroux’s French songs, ‘J’ai Deux Amours’, a beautiful poetic song during which it feels like she transports the audience to an intimate French bar where her voice is like red wine for the soul…By all means take another sip and savour the experience.