Bon Iver, Victoria Apollo, London

Posted 15th Dec 2008 in Live Reviews, Bon Iver by Greg Inglis | Victoria Apollo | 4-5

Justin Vernon has had an amazing year after the release of his critically acclaimed debut, and the 2400 capacity Apollo was sold out weeks in advance for the cult artist's final European performance of 2008. Grandiose, overwhelming and oozing character, there will be few occasions when he plays beneath a giant dragon with wings outstretched, casting its beady eye over the dungeon-like lair below.

What strikes you immediately is the sheer versatility of his touring band, alternating between instruments like friends sharing drinks, whilst providing gorgeous vocal accompaniment to the gentle folk-tinged tales of love, loss and desperation. From the moment he launches into the opening chant of 'Wolves' with its repeated mantra of "I'm out in the woods, I'm down on my mind, I'm building a sill to slow down the time", there is a hushed silence as the otherworldly harmonies take you to an altogether more peaceful place. Album opener 'Flume' is then subtly reinvented, with the drummer beating out the rhythm on cowbell and tambourine simultaneously the with keyboards, giving it a fuller sound than its recorded cousin.

There is a fragile shyness tonight that displays itself through the in-song banter but such modesty and genuine appreciation is nothing less than endearing. Not content with simply playing through the album in its entirety we are treated to a host of new tracks from the soon to be released 'Bloodbank' EP; not least the title track which is considerably heavier than anything he's previously recorded. With the red backdrop of the circular stage screen, an ever changing drumbeat is played out whilst seÃ±or Vernon moves jerkingly around the stage trying to get every last drop of noise from his beloved instrument. After such noisy diversions it is time for "a shorter, quieter one" in the form of 'Beach Baby', with its bluesy country edge similar in sound to much of 'For Emma, Forever Ago', although lacking any real memorable sense of melody.

A host of cheers heralds the start of 'Skinny Love', which sees a seated Justin with his eyes screwed shut, and trio of fellow bandmates drumming together whilst getting louder towards the conclusion. Pausing to briefly thank everyone who'd supported the record before an unsettling 'Creature Fear', sees Vernon knob-twiddling to create weird effects, while the dark haired drummer batters his kit - guitars are cranked up to vicious level.

Next up is 'For Ever' which gets the crowd's vocal chords warmed up as we are warmly encouraged to sing the "wooh ooh ooh" parts, before the band walk off stage to leave Vernon to perform the bleak 'Stacks' unaccompanied. They then return for the closing 'The Wolves', which he teaches us how to sing before prompting us to raise our voices in ever increasing measure, which we are more than happy to do. One of those unique unifying gig moments which you have to be there to truly appreciate and the standing ovation which followed was nothing less than deserving.

Barely has the clapping subsided and they return to start their encore with final new track 'Babies', featuring Justin and bandmate on keys creating something markedly different from anything that has gone before. There is just enough time to welcome back support artist Sarah Siskind, who duets on a beautiful cover of her own 'Lovin's For Fools', with the contrasting vocals blending perfectly.

In a world of fakery, miming and gimmicks it's reassuring that people can spot genuine talent and have warmed to an artist whose live performances fully justify the music rag column inches. The sheer power of the songs takes on a new dimension when placed in a live arena and it's to the band's credit they can reinvent them in such a way that they have the ability to surprise and enthral you in new and unexpected ways.

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