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Review: Lucy Rose, St George’s – ‘Elegantly powerful’
If ever a venue was fit to stage two phenomenal artists, the grand surrounds of St. George’s is the one.
Lucy Rose is in town in the middle of her UK tour, a prelude to the upcoming release of her sixth studio album. She’s invited Margaret Glaspy as her very special guest, tonight and for the entire tour.
Margaret brought her talents to Bristol in an intimate show at Dareshack back in 2024. I was blown away by her vocal performance and, in truth, had been waiting for another opportunity to see her since then. This was it.
Glaspy brings her glorious voice back to Bristol following her las t show at a much smaller venue two years ago
Glaspy is solo tonight, armed with the classic folk combo of acoustic guitar, harmonica and stories to tell.
She opens with a Magnetic Fields cover of The Book of Love, taken from her album of inspirational covers The Golden Heart Protector. Her voice is bold and beautiful, in contrast to the deep vocal delivery of the original. The art of a great cover is here for all ears.
It is an intensely enjoyable set. Glaspy’s words cut deep; she sings each like it’s just been written.
“There’s a knife by the door that you don’t know about” is a killer opening line to Would You Be My Man? This song, among countless others, displays her talent for succinct lyrical painting of stark and vivid imagery.
Her set is a mix of inspirational covers and original material
She treats us to new material, most notably a Martin Luther song. It’s dedicated to “my hero” as she quotes Dr. Martin Luther King Jr, “Hate cannot drive out hate. Only love can do that.” A message that could travel through any passage of time and still land.
The room fills with appreciation. New fans and old have gathered to see this special show, which ends with a story of childhood memories of contradictory behaviours in ballet dancing to Creedence Clearwater Revival’s Have You Ever Seen the Rain.
If people weren’t sold, they are now. Goosebumps Galore. Margaret promises new music and UK shows soon.
The lights are down and the panpipes up. The band take to the stage, with Lucy Rose following soon after, beaming as she feels the adulation from the gleaming crowd.
She opens with Sail Away, a song full of luscious layers that climb the great hall’s walls, reverberating around the balconies as the five-piece band’s sound fills the room.
We are in for quite a show. Everyone is fully immersed from the get-go.
Lucy Rose is mid-tour, presenting songs from her upcoming sixth album
“Bristol, you always turn up,” Lucy smiles, stating her appreciation. “Anyone who leaves the house after 7pm is insane!” The sentiment is greeted with smiles all around. We all know it is hard sometimes.
Lucy is happy to take her place behind the self-proclaimed “box of shame” – aka the keyboard in a box – eager to play us both old songs and new.
She bops away, delivering the most tender lyrics with her unmistakable soulful voice. The power is in its subtlety and lyrical content, with each song pulling at very specific emotional spaces.
We are treated to new song Apple, a nervous occasion for any musician facing a packed, observant crowd. All eyes are on her, adding extra layers to the already vulnerable state that live performance brings. Especially when the ink is barely dry on the lyrics – only finished on the eve of this tour.
It is a powerfully emotional performance from Lucy at the piano and her four accompanying musicians
Apple is filled with tempestuous drums and crisp bass and is elegantly powerful. It’s about as loud as you can get in such a setting, whilst still maintaining a crystal clear sound as the band builds a dramatic soundscape.
Life’s Too Short is preluded by Lucy’s recent experience of pregnancy-induced osteoporosis, which was debilitating in so many ways, leaving her wondering if she would ever get back on stage and do what she is clearly so exceptional at doing.
The song itself is positive pop in the face of adversity, delving briefly into the world of r’n’b and coming back with violins. The adulation in the room rises as the crowd show how glad they are that she’s back at her best to perform these songs that mean so much to so many.
Rose has overcome pregnancy-induced osteoporosis which left her temporarily disabled, and is now processing the experience through her music
She is clearly an artist who thinks a lot about the order of the set. A run of songs soundscapes her back catalogue, darting from old to new, naturally carefully curated and inclusive.
A four-song career-spanning collection of varied and immersive songs comprise Solo, Lifes Too Short, Pink and then Shiver.
The set could have ended there, and did momentarily, before a brief interlude gave us the gift of a three-more encore.
Lucy is on her feet for the encore and so are the crowd as her guitar glistens under the gloriously lit hall. Next to me, a man sighs and exhales in momentary bliss as Lucy Rose closes with Question It All. Enough Said.
All images: Dave Broome
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