Review: Agnes Obel
The St Canice’s Cathedral setting, perched as it is above the main streets of Kilkenny, could make many performers look good. But you feel that were Agnes Obel to perform in a cowshed she would still keep the audience enthralled. Still, we’ll certainly take the church setting.
Cian Nugent opens proceedings with his impressive guitar work. His singular style provides a suitable warm-up. From the very beginning the emphasis is on showcasing an impressive technique. The ambitious, epic compositions would suit a dark, animated short. In the Cathedral the music speaks for itself, but a visual backdrop for future shows could be a successful addition.
Then, at 9.30 Agnes Obel takes her seat at the grand piano while Anne Müller positions her cello. There may be one name on the bill but this is close to a double act. Obel’s plaintive, but never keening, vocals are given added depth and drama by Müller’s cello playing. When it’s called for Müller can pitch in with vocals and, you suspect, any other instrument that comes to hand, though tonight it is mainly the guitar.
Of course Obel’s piano playing is superb as well. Instantly cinematic sounding piano pieces, if you don’t hear an Agnes Obel track sound tracking an Oscar-worthy film in January well then that’s the fault of Hollywood. Until then we can conjure up drama in our own minds, each song capable of bringing sadness as well as joy.
Kev Donnellan
An hour long set takes in most of her Philharmonics debut album with a few new songs, and some John Cale thrown in. The chat between songs is endearing “Oh dear, I don’t know what this song is about.” The simpatico between the two performers is genuine, as is the reverence from the audience.
A performance to be treasured by those who were there, and hopefully one which will be repeated for those that were not.
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