[ originally published 20/10/2018 ]
GWENNO
Tramshed, Cardiff - 17th October 2018
Support: Adwaith, Halo Maud
The sound of bellowing punk from the previous evening was still rattling around my head as MrsRobster, Our Mate Colin (OMC) and I entered the Tramshed in Cardiff. This was the opening night of the Sŵn Festival, an annual five day extravaganza of music across numerous venues in the city. And what better way to get it started than one of Wales' most heralded artists singing in Cornish?! Gwenno's new album 'Le Kov' is certainly one of 2018's more intriguing releases, but the fact it's also very good means it's worth more than just a token listen.
To kick things off though, were Gwenno's French labelmates Halo Maud. I'd not come across this lot before but their debut album, also released this year, seems to be picking up plenty of plaudits. I wasn't entirely convinced by their opening number, but everything that followed got better and better. Think Cocteau Twins meets Stereolab and you're part way there though there's plenty more going on. Worth investigating further for sure. Carmarthen's Adwaith have been touted as one of Wales' best new bands. The all-female three piece make a somewhat minimal post-punk noise in the mould of early Wire, The Slits and the Au Pairs, yet they failed to make an impression on the three of us. Maybe in a smaller venue it might have worked better, or even some better songs. Either way, they didn't connect with us on the night, which is a shame. Young Welsh talent is always welcome round here so I'd like to be more positive.
You could be forgiven for thinking that, based on her two solo albums to date, Gwenno's live shows would be dreamy, laid-back affairs. And compared to an Idles show they probably are. But while she almost whispers her lyrics on record, live she belts them out with gusto. Den Heb Tavas was delivered with a ferocity that was unexpected, and Hi A Skoellyas Liv A Dhagrow sounded far more earnest and intense than its recorded version. And that was the overriding feeling of the set. Gwenno's decision to sing entirely in her first two languages - Welsh and Cornish - is fuelled by her passion and belief that her native cultures and identities should be kept alive through music and language instead of being forced into extinction. Whether you agree with this concept or not, you'd have a hard time arguing against Gwenno's conviction. The psychedelic moods of the new Cornish material sat comfortably alongside the more Krautpop tendencies of the Welsh-language stuff from her first record. There's certainly something in Gwenno's sound that brings to mind the much-missed Broadcast, though she's just as likely to name Aphex Twin and Maurice Chevalier as influences. It's that mix of retro and modernity that fits the whole spirit of Gwenno's words and music.
As the backdrop showed us live psychedelic images of Gwenno in full flow, and the strains of Tir Ha Mor, Fratolish Hiang Perpeshki and Chwyldro filled the Tramshed, it was evident that there was more in common between the two shows we saw this week than we might have otherwise expected. Both Idles and Gwenno have causes to fight for, passions to elicit. Both acts are animated onstage and have a convincing presence, connecting with their audiences. Closing her set with Eus Keus?, Gwenno's final song touched on another pressing issue close to her heart. Teaching us the chorus of the song which translates as "Is there cheese? / Is there, or isn't there? / If there is cheese, then bring cheese / If there is no cheese, bring what there is" she laments that "There just aren't enough songs about cheese." How true. Maybe if this Cornish language lark doesn't catch on, Gwenno can define a new genre. Dairy-pop, anyone?
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