Review: Liz Lawrence, Strange Brew – ‘Killer songs that shapeshift through genres’

What’s the best thing to do on a freezing Thursday night in Bristol? Go and see Liz Lawrence at Strange Brew obviously!

In support, we saw a minimalist Attawalpa, performing as a two-piece with singer/lyricist/guitarist Luis Felber and on the viola Freya Hicks; a striking setup. Set opener No Fools is very much a full band affair on record with a twinkling piano and a driving drum beat. But who needs drums when you have a viola?

Hilarious in Love is a lyrically fun song about staying in bed all day with the one you love, and has moments when the guitar and viola collide, Felber’s squeaking feedback clashing with the soaring beauty of Hick’s viola masterclass. It sounds like it shouldn’t work but it does, with ample space available for the viola to breathe its beauty into an ever-filling area of appreciative early arrivers.

Please Take Care is a waltz of a song with Felber’s vocals taking on a deeper, more Leonard Cohen style edge, the instrumental contrast making for an intensely enjoyable sound. The performance had me entertained, enthralled, and wanting more.

Liz Lawrence takes to the stage to play to an almost sold-out crowd, and we can feel the excitement in the room. When Lawrence performed Strut at Bristol’s Ritual Union, she turned a festival into a party, and I was looking for more of the same. Lawrence is dressed ready for admin and war, her look combining a smart shirt and tie with a silver chainmail coif (sadly not used as percussion).

She wasted little time getting down to business, opening with the happily played but doomy titled On Loss and Overcoming Despair. The bass is turned up to 11. Lawrence is a very distinctive performer, dancing while doing Ian Curtis robot arms in a very small space – all whilst singing with power and presence,  leaving me transfixed, as she seems transfixed too.

Her expressions change from deadly serious to a wry smile in the drop of a coif. The band are a tight four-piece, with songs from Peanuts clearly being honed to perfection over the four months since release.  “Does anyone like the new record?” Lawrence asks, to prolonged cheers as the band launch into Oars and give it everything.

Everyone visibly relaxes as the bassline drops to None of My Friends, with people dancing in their seats. USP totally rocks, with funky bass, crunching guitars and pineapple percussion continuing the party.

Liz Lawrence’s USP is to effortlessly write killer catchy songs that shape-shift through genres. Down For Fun is a dirty funky number reminding me of Beck at his best. She then switches to breezy pop for Saturated with her stunning, clear-as-crystal vocals taking centre stage. “You’re a solar system, you’ve got planets in your eyes”.

And, finally, the coif is off! The set is planned to perfection, building throughout and getting increasingly more danceable before fitting set-ender, bass-heavy Big Machine.

For an encore, Strut is a perfect way to end any set. The crowd strutted until they could strut no more, and left having enjoyed a finely crafted set encapsulating every side of Liz Lawrence’s songwriting ability and live performance.

All images: Matt Barnes

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