by
birdsong
@ Tuesday, May. 06, 2008 - 11:00:28 pm
My heart's come home to me
That robin from a world away
Has come like first warm rain
My heart's come home to me...© Baby Dee
Saturday night's show takes my experience of live music to a whole new level.
The combination of venue, artists, nostalgia and affection is unprecedented in my experience. I have never before been to a gig where the place mattered so much to the show, and where everything involved gelled together so perfectly.
To mingle like a robin's song with night
And make night seem as good as day
My Heart's come home to me
That robin from a world away
Has come like first warm rain
My hearts come home to me
Wilton's Music Hall is neglected and is semi-derelict. At the current state of decline it will cease to be accessible in the next two to three years. It is London's most beautiful lost theatre, rightly describing itself as the city's 'hidden stage'. Entered through the paved lobby, off Grace's Alley just a few hundred yards from the Tower, Wilton's is an astonishing survival. A big, rectangular room with an apse at the back and a high stage. Single balcony on three sides with bombe carton pierre front, supported on unusual helical-twist (‘barley sugar’) cast-iron columns, whose bases are progressively overtaken by the rake of the floor. How have these survived 150 years?
Side walls with paired arched recesses above the balcony, the arches supported on alternating piers and ornamental brackets. Elliptical vaulted ceiling with ornamental fretted ribs, originally with a lantern skylight and gas chandeliers. The former presence of a hot sunburner flue has left charring on some of the roof timbers. There is staining on the walls and the paper is peeling and decayed.
To make men seem as good as gods
That God himself look down and say
My heart's come home to me
That robin from a world away
Has come like first warm rain
My heart's come home to me
After a couple of numbers form the raucous and loud (but utterly charming Celine)

we were treated to a half hour set from Little Annie, with guest pianist the very wonderful Paul Wallfisch.
A delightful act,combining Judy Garland, Amy Winehouse, Tom Waits, Nick Cave... superb cabaret and very clever interpretations of songs including a unbelievably tear-jerking arrangement of U2's "I Still Haven't Found What I'm looking For". Anxiety rules. Talk about a bleeding piano.
Already I'm stunned, my eyes bathing in the glory of the atmosphere and the spectacle. A flickering, grainy film projected onto the curtain behind the performers, lamps on tables. A birdcage beside a huge golden harp.
A cello propped up against a couple of packing cases. Some roses pile don the top of the grand piano. I have a weakness for roses.
Oh yes, I remember now
Those ancient lovers I and Thou
Have come like first warm rain
My heart's come home
My heart's come home
My heart's come home to me
This is even before the main act!!
Baby Dee opened the set with the title track of her latest album 'Safe Inside The Day'. I watched in smugness as my friend beside me stared open-mouthed in utter disbelief at the sheer weirdness of Dee. Tiny, tiny voice. Of a Robin. Unbelievably, I was disappointed when Marc walked quietly on backstage and took over the vocal!!!! He delivered it well though - so I had to let him off!
So much of the material he went on to perform was new to me - I suspect the 'last album' is well on the way to being finished. Tracks from the lost Russian album 'Orpheus' and stuff from all over his catalogue. Weakness For Roses nearly had me in tears, and songs like 'Lavender' were truly heartbreaking.
Marc is absolutely unashamedly back, and belongs at Wilton's Music Hall. It's as if they were made for each other, such was the unique affinity between artist and performer. He duetted with Dee, with Annie and with Celine on a hilarious music hall song from 1926 called 'Masculine Women and Feminine Men'.
After the show, I got ten minutes alone upstairs in the gallery, savouring the atmosphere of this place. It cannot be allowed to collapse. Joined the Friends in the foyer afterwards, committing a ridiculous one hundred pounds to the cause.
Then purchased 'Gabriel and The Lunatic Lover', Marc's interpretation of two Stenbock poems from the 1880s. Set to music by Neal Whitmore and played by Michael Cashmore of Durtro. I am beginning to love all things Durtro
Only played it twice. Takes a lot of effort and is completely absorbing.
One of Britain's most original performers, alive again, performing in harmony with Britain's most unique theatre. Closest thing to perfect in my experience. Oh, England, my Lionheart.
I feel fundamentally altered by the experience, coming as it does on such a wave of emotional insecurity at home. Doubts now cast aside. Optimism restored.
There is a God, and if he does needs another angel to do his bidding, let him look no further than first left off Stardom Road...
Marc Almond & Michael Cashmore Gabriel and The Lunatic Lover