David Gray + Special Guest The Divine Comedy

Flytjendur

• 

  David Gray

  Recorded for no budget in a Stoke Newington bedroom in 1998 by a down on his luck singer-songwriter and self-released on a kitchen sink label, White Ladder slowly (very, very slowly) found an audience. It took a year to creep into the lower reaches of the British charts, then worked its way all the way up to number one. White Ladder eventually spent 3 years (from May 2000 to March 2003) in the UK top 100, spawning classic hit singles ‘Babylon’, ‘Please Forgive Me’ and ‘Sail Away’. It went on to sell over 7 million copies worldwide. It remains in the top 30 best-selling British albums of all time and the best-selling album ever in Ireland (a nation who know a good song when they hear it).

  Celebrating its 20th anniversary with an expanded edition, it is interesting to consider the extraordinary aftermath of White Ladder. Its success spawned a new wave of singer-songwriters in an acoustic boom that resonates to this day, a soul-baring lineage that can be directly traced from David Gray to the all-conquering Ed Sheeran. Indeed, Ed is a fan, whose passionate live version of ‘This Year’s Love’ can bring tears to the eye. Fellow world beating British superstar Adele is also an admirer, citing ‘This Year’s Love’ as one of her all-time favourite break-up songs.

  In the wake of White Ladder, every major record company began signing and developing guitar wielding troubadours. David Gray was followed into the UK charts by Damien Rice, KT Tunstall, Katie Melua, James Blunt, James Morrison, James Bay, Paolo Nutini, and, ultimately, Ed Sheeran and a second wave of guitar boys including George Ezra, Tom Walker, Tom Grennan and Lewis Capaldi. In the US (where White Ladder sold 2 million copies), Jack Johnson, John Mayer and Jazon Mraz were amongst singer-songwriters whose careers received a significant commercial boost. White Ladder was a music industry game changer.

  And yet White Ladder remains apart from everything that followed. While the record company model involved putting young guitarist-singers into the studio with teams of established pop writers and producers, White Ladder was the work of a lone artist plumbing the depths of his soul.

  White Ladder was born of difficult circumstances. David Gray had been struggling on the margins for a decade, a lonely figure with an acoustic guitar swimming against the tide of Britpop, grunge, hip hop and electro. With three albums to his name, he found himself advertised third on the bill to beer and a barbecue. “Futility was so thick on the ground it was utterly soul destroying.” He came close to quitting. But instead, he asked himself some difficult questions: “Can you make a better record? Can you write a better song? The decision was to open up and give it everything I’ve got. The open heartedness that White Ladder has at its very core is in direct relation to the sense of bitterness and defensiveness that prevailed upon me. White Ladder is the negative flipped into positive.”

  He wrote and recorded in a tiny terraced house on Lordship Road in Stoke Newington. He had to record during the day so as not to disturb the neighbours. “The windows were open because it was hot, and you can hear traffic noises very clearly. It’s the ultimate bedroom recording, actually made in my bedroom.” Lacking big studio facilities, David experimented with drum machines and electronic elements, creating a blend of folktronica that has since become a familiar part of the musical landscape, aided by drummer Craig McClune and engineer Iestyn Polson.

  David released White Ladder in Ireland on his own IHT label in November 1998. “We cobbled it together, got a distributor, pressed 5,000 copies and hoped for the best.” Released in the UK in March 1999, it reached number 69 in the charts. American jam rock superstar Dave Matthews was such a fan he personally licensed the album for his ATO label in the US. Meanwhile East West records, a division of Warner, took the reins, releasing ‘Babylon’ as a single in June 2000.

  After that, the floodgates opened. ‘Babylon’ became one of the hits of the summer, White Ladder became a multi-million global phenomenon, and David Gray jumped from playing pubs to theatres to arenas in the space of a few frenetic months. “It was nuts. We were just laughing all the time. It was like a slow explosion, with moments of detonation that took it to another level. It was perfect in a way you could never design.”

  White Ladder has become part of the fabric of the world. “A friend was in the Himalayas and ‘Sail Away’ was playing at base camp. I’ve heard tell of my songs coming out of radios and stereos in the strangest places, from Tel Aviv to Timbuktu. We made the best record we could, and by some miracle it managed to charm its way across the threshold. It didn’t just open the door a crack, it kicked the fucking thing down. We came straight through. That was astonishing. You can make a great record but it is exceedingly rare that it will go on and become something bigger than itself. It was charged with all kinds of energies, the right thing in the right place at the right time, in this openhearted moment.”

  White Ladder caught something of the mood at the end of the century and the start of a new one, the comedown from the pomp of the nineties mixed with nervous hope for the future. Gray’s music is both intimate and broad, intensely personal yet capable of speaking to the masses. “I don’t write behind some sort of cloak. I’m the opposite of an enigma, I am just heart on sleeve. I think your strength as a creative person is your vulnerability. If you're not venturing anything you’re nowhere, there has to be something fragile and breakable being handed over. That was White Ladder. It is almost all I can say about it.”

  Gray has released 12 complex, ambitious, heartfelt albums across his career. Some have been big commercial successes (2002’s A New Day At Midnight and 2005’s Life In Slow Motion were UK chart toppers), others have been more intimate and experimental. “It’s instinctive, you have to go where the music needs to go, otherwise the gleam, the sparkle will fall away.” All offer up songs of the highest quality, performed as if his life depends on them. Gray’s passionate, vocational approach has established an incredibly loyal audience prepared to follow him on every adventure.

  “I've been happy after the event to get back to writing the music that I felt was in me and following my creative path. I don’t think the records I've made since have been worse or better. I just think what happened with White Ladder involved more than music. It was a sort of heart and soul moment of total surrender for everybody involved, for me and the audience. That was it. It doesn't get any better than that.”

  Twenty years on, White Ladder remains an album of great depth and startling beauty, a superlative collection of emotional songs capturing a very special moment in time, as raw and immediate as when it was recorded.

• 

  The Divine Comedy

  The Divine Comedy is a pop band from Northern Ireland fronted by Neil Hannon.

  Neil Hannon has been the only ever-present member of the band, being its founder in 1989 when he was joined by John McCullagh and Kevin Traynor. Their first album, the heavily R.E.M.-influenced and now-deleted Fanfare for the Comic Muse, enjoyed little success, though. A couple of equally unsuccessful EPs - Timewatch (1991); Europop (1992) - were to follow, with newly-recruited member John Allen handling lead vocals on some tracks. After the commercial failure of the Europop EP, this line-up soon fell apart.

  Hannon, however, was not deterred in his efforts and re-appeared in 1993 with Liberation. Featuring a fairly diverse musical outlook that goes from the tongue-in-cheek synth pop of 'Europop' (nearly unrecognisable from the previously-released version) to the classical stylings of 'Timewatching', it is also characterised by a plethora of literary references: 'Bernice Bobs Her Hair' recalls a short story by F. Scott Fitzgerald; 'Three Sisters' draws upon a play by Anton Chekov; and 'Lucy' is essentially three William Wordsworth poems abridged to music. This led to a degree of critical acclaim, but commercial success still proved elusive.

  Indeed, it was only some minor success in France that really enabled Hannon to proceed to his second effort Promenade. Released in 1994, this was heavily driven by classical influences, with Michael Nyman's stylings clearly an influence. Hannon himself acknowledged this when he apparently sent a copy of his new album to the composer, jokingly asking him not to sue. Essentially a concept album about a day spent by two lovers, it also received similar critical acclaim to that which Liberation was afforded. Commercial success, though, was not forthcoming despite some of Hannon's best songwriting to date, including "Don't Look Down", "The Summerhouse" and subsequent live favourite "Tonight We Fly".

  At around the same time, Hannon also wrote and performed the theme music for the TV sitcom Father Ted (which would subsequently be incorporated into the song "Songs of Love" on the album Casanova), and later wrote the music for the deliberately bad mock-Eurovision song "My Lovely Horse" for one episode. Hannon resisted widespread requests from fans to release the track as a single for the Christmas market, but it was eventually released in 1999 as the third track on the CD-single "Gin Soaked Boy". This would not be the only time they would be responsible for a TV theme, as "In Pursuit Of Happiness" was also used by the BBC science and technology show, Tomorrow's World. Hannon also recently composed the music for the comedy series "The IT Crowd".

  The album Casanova (1996), and in particular the single "Something for the Weekend" led to the band's first major successes, with Neil Hannon becoming a distinctive, albeit unlikely, popstar in an immaculate suit, and always appearing the elegant dandy. At the height of their commercial success, the band put out A Short Album About Love (a reference to the Krzysztof Kieślowski movie A Short Film About Love), recorded live at soundcheck with the Brunel Ensemble in preparation for a concert at the Shepherd's Bush Empire, from which several songs were released as b-sides. It was aptly released on Valentine's Day in 1997. Subsequently, the band contributed a reworking of Noel Coward's "I've Been to a Marvellous Party" to a compilation of covers of the writer's songs, with Hannon affecting a Cowardesque lilt (albeit interspersed with an aggressive electronic musical backing).

  The foppish image, but not the suit, was ditched for the more sombre album Fin De Siècle in 1998, although its biggest hit, the jaunty "National Express", a song about the national coach operators, belied its more intimate, soul-searching tone. Maintaining the balance between these poles, 1999's Secret History - the Best of The Divine Comedy included rerecordings of Liberation tracks "The Pop Singer's Fear of the Pollen Count" and "Europop", and two new songs ("Gin-Soaked Boy" and "Too Young to Die") alongside the band's main hits. In the same year, the band also collaborated with Tom Jones on a cover-version of Portishead's 'All Mine', featured on his album Reload.

  A serious side to the band was also in evidence in 2000's collaboration with Ute Lemper on her album Punishing Kiss, most of which featured The Divine Comedy as Lemper's backing band. Neil Hannon and Joby Talbot also contributed two original songs and an arrangement of Brecht and Weill's "Tango Ballad", whilst Neil Hannon sang two songs ("Tango Ballad", "Split") as duets with Lemper.

  [edit] Post-Setanta & recent activity (Regeneration to present)

  The 2001 album Regeneration attempted to remove the band still further from its association with comedy. Hannon hired famous producer Nigel Godrich to "remake" the band. Neil ditched the suit and donned the Britrock band image. However, the album was a greater critical than commercial success, and soon after its release it was announced that The Divine Comedy were splitting up. However within a year Hannon was touring again with a revised band line-up, playing a series of joint-headline gigs in the USA, UK and Ireland featuring both The Divine Comedy and Ben Folds, who would cover The Divine Comedy's "Songs of Love" on his Sunny 16 EP.

  Eventually a new album surfaced in the form of 2004's Absent Friends. Striking a balance between the occasionally earnest sound of the band's later material and the lighter tone of the more popular releases, it encapsulated the essence of The Divine Comedy. 2004 saw two dates of particularly acclaimed performances, one at the London Palladium (which was later released as a live DVD) and one at the Royal Albert Hall.

  In January 2005, Hannon announced that he had acquired the worldwide copyrights to all of his recorded output with his former record label, Setanta Records. He declared on the band's official website that he would be launching his own record label Divine Comedy Records in order to re-release his 1990s output. It is understood that he will be re-releasing Liberation (1993) through to Fin de Siècle (1998) on his own label in 2007.

  Hannon's ninth album under the Divine Comedy moniker, Victory for the Comic Muse (a reference to his debut), was released in June 2006. It is suggested by fans to be less personal and more free-approach in tone than his most recent albums. The bulk of the record was recorded in just two weeks, hence the more spontaneous sound, and features appearances from Travis bass player Dougie Payne.

  The current incarnation of the Divine Comedy features Rob Farrer, Simon Little, Andrew Skeet, John Evans, Tim Weller, Ian Watson, Charlotte Glasson and Lucy Wilkins.

• 

  Scarborough Open Air