Jamie Macleod Bryden attends Southbank for Anohni’s “Dark Blue”. A night devoted to Lou Reed and his music “through the lens of dark blue”.
“I thought I was someone else
Someone good”
House lights dim: but the stage remains ominously empty. Absent from the stage, Anohni appears on screen. Colourful projections of her are overlaid against a sombre black backdrop. She questions the state of humanity from her own position: Self-described as a “place of resource”. That when humankind thought itself “above nature” it wrought the most damage to it. Colonisation through religion being a prime example of this. The piece entitled “Benazir” was produced for the Forum Biodiversitie, but is neither proselytising nor preaching. It is simply a sober reminder that we could do better for the world. Her delivery is like that of a wise oracle. It feels cleansing before the show begins.
She emerges dead centre stage, garbed in black, with a semi-circle of five musicians around her. A single rail of iridescent light splits her vertically, making it seem like the light emanates from her directly. There is a hushed reverence as the Velvet Underground’s “Jesus” comes in with its woozy pitter patter before going to “Coney Island Baby”.
As the opening piano of “Perfect Day” begins, the energy shifts. The set gains in power. Whilst the arrangement from her band is faithful to the original. The power of Anohni is such though that her voice leans into the beauty of the song with a fluttering delicacy. No one can imitate Lou’s sardonic, and world worn delivery and there is no point in even trying to replicate that. This version has gained in confidence and space since Anohni first covered it for Lou’s “The Raven”. Both are good, but this has grown in beauty through the experience Anohni has lived along the way.
Another aspect that elevates the night is between songs, Anohni gives her experience of being Lou being of of her best friends. It began when “Lou’s people” got in touch with her to contribute to “The Raven”. They warned her that if Lou did not like her performance in the studio then he would probably just leave the booth without introducing himself. She laughs generously that she didn’t mind. She did not start their friendship as a fan. Laurie Anderson she would have been impressed with. Growing up in the 80’s it was all about synths. Lou and his guitar sound may as well have been…Aerosmith to her. After this Lou became one of her biggest initial champions – after David Tibet of Current 93. Through all this it does feel like Lou himself is in the room. She can summon him through memory as well as song.
“Chelsea Girls”, originally performed by Nico but written by Reed, with its tableau of characters from Brigid wrapped in foil, Pepper and her loves, Ingrid’s lick, poor Mary and Johnny Bore is the absorbing centrepiece of the night. Anohni lives in it and unfolds it so enthrallingly that you don’t want it to end. Its beautiful despite its brutality. Maybe even because of it. That beauty lies in Reed helping the marginalised NY figures share their voice. Something he helped Anohni with too. After that first collaboration Lou insisted that whichever record label he joined next that they also sign Anohni. Theres something stark in the attitude of the time. “New queens” were not admitted into the closed door of the music industry post Aids. Existing ones merely tolerated.
“I’m set free”, from the Velvet’s third mirrors the joyous surge of the recent Brian Eno version performed at Southbank last year:
“I’m set free to find a new illusion”
It’s a song of hope but one with a knowing kink in its tail, that it may not amount to much. Anohni’s version soars and you can feel the room filling with hope. Phones come out as people feel the urge to bottle that feeling and relive it – such is its power. There are too many Lou and VU songs to deliver in one set. But one absolute essential is “Pale Blue Eyes” with Anohni’s version being as good as you can imagine it would be. The most wistful of lullabies:
“Thought of you as everything but couldn’t keep”
In this world, dominated by the saccharine and the inauthentic, Lou’s legacy is lovingly kept alive by Anohni. A legacy of truth. Even his “fails” were there to challenge or subvert. Metal Machine music anyone?
To close the set, Anohni introduces her own “Sliver of Ice”, a song inspired by when Lou was not long for this world and phoned her to express his childlike joy at having been given a block of ice to help sooth is mouth whilst bedridden. Relaying his sheer joy at the simplest of pleasures:
“It was cool and it was good – I never knew it before”
Appreciating the small things and love itself before the final curtain comes down:
“The taste of water on my tongue, on my way to oblivion”
It’s a night that goes beyond covering a great artist. Anohni’s loving window into their friendship brings Lou back for us all to share and for that we must be beyond grateful. It’s love that can keep people alive forever.
Dark Blue / Anohni at Southbank
Credits:
Artist: Anohni / @anohni
Venue: Southbank / @southbankcentre
Words: Jamie Macleod Bryden / @jamiemacleodbryden
Editor: Maria Abramenko / @mariabramenko
Assistant: Annalisa Fabbrucci / @annalisa_fabbrucci
Photos: Shaun Macdonald / @damnitignacio