Review by Angelina Pelova
Live music doesn’t necessarily need loud decibels or mind-blowing light shows. It can be simple and intimate, which is how the concert delivered by Connor Selby felt on Saturday evening at the Lantern Hall at the Beacon. This was the first time the musician played in Bristol, so let’s hope the fact that the venue was largely undersold (as a massive understatement) will not put him off playing here again. His emotionally charged rootsy and classic blues grips by the heart and makes it a great quiet night out, with the perfect combination of soft lighting and good sound engineering.
The very fact that at his young age Connor has ventured on a headline UK tour deserves applause and respect. He’s been on the road since June, with gigs all over the country, as well as a couple of European ones. The Bristol date marked nearly the end of his tour.
The show was divided into two halves which varied largely in dynamics and mood. It started off gently and nearly shyly, with a brief introduction, to the point, and hardly any contact with the audience. Connor wore a simple outfit, clearly focusing on giving his guitar and singing all his heart. The size of the venue was perhaps right for him, but a smaller one would have felt even cozier for the emotions flowing off stage.
The first part of the gig was slow, lingering, deliciously played blues with tons of organ instrumentation and various drum techniques. Gradually, Connor evidently loosened up and started talking to the audience in between tracks; at the end he humbly stood up at the exit to meet people. The second part ramped it up with livelier, energetic, hard core blue that some could probably dance along to. It was broken up by a sad ballad dedicated to a friend’s mental health struggles, at which point the musician was evidently wearing his heart out on his sleeve.
The set list included most of the songs from Connor’s recently released album “The Truth Comes Out Eventually”, as well as some material that hasn’t been released as yet, like ‘I Want You But I Can’t Have You’ (recorded for the new album but didn’t make it there) and ‘Amelia’. All music is original, with the exception of ‘It Hurts To Be In Love’ (cover version of Gene Pitney).
Towards the end, Connor spoke about the influence blues has had on his life, expressed his heartfelt gratitude and respect towards the huge legacy blues has left over the years. “I am trying to keep blues music alive in the 21st century and honour it”. Indeed, he is, and is doing a great job at that, too.
Watch him grow over the years; this boy has already got far, yet his young career is only just starting.
