This was a fairly last-minute gig, that my shooter suggested we attend, plus it was free entry as part of the Sheffield Music Trails event that was taking place at various venues across the city. Added to that this was an afternoon show scheduled for a 2pm start time, which I arrived at without any motorway, snarl ups for a change, and meant a quick drink in a decent pub we found was afforded. Indeed, Jo started her set bang on 2pm as I wandered into the very dark Corporation venue, it felt like, but created a great atmosphere for her unique set.

‘Laurus’ started her set but she decided to abort and restart as something wasn’t quite right with her monitors or equipment. Jo Quail uses every single part of her cello to construct her songs, recording parts that repeat to produce beats, effects and an avalanche of subtlety one has to hear to believe. The emotive mournfulness was despondent but strangely uplifting too as she followed the opener with ‘Five Incantations’ that the healthy crowd completely absorbed and appreciated, as I’m sure she gained new fans at this show. The layering melancholy was dramatic, saturated in ambient majesty as the song’s tension and intensity increased with each passing minute.

Jo is a very amiable artist, explaining the songs as she goes, telling us that the next number was from her first album, ‘From The Sea’, released over a decade ago, but saying that this was a new version of the song ‘Rex Infractus’ that she has not played before, and what a version it was. A cool deep resonance emanating from her cello, the song was laden with desolation creating what felt like to me a horror film soundtrack. Utilising apical and nadiral loudness the song was inundated with passion, every subtle inflection of her playing adding layer upon layer to its magisterial quality rammed with passion and morosity.

With only a short set to display her considerable dexterity Jo explained that the next song was a hymn about the night sky in Australia she says she will not see for some time and was titled ‘South West Night’. It appeared she was airing a song from each of her albums as this appeared on her second album, ‘Caldera’, as the song brushed the audience with sorrowful notes she set on repeat. It is these really sombre moments in a set like this that test the audience’s respectfulness and here they were excellent, with only gentle murmuring heard as she produced her exceptional ability to layer the song with melodies and beats, that instilled a shroud of heart-breaking emotion to the song.

As she approached the end of her set she thanked us all for attending, beaming with happiness and played ‘Mandrel Cantus’ from 2018’s ‘Exsolve’ album. Slapping the neck of her cello gently she produced a pulsing beat, adding the layers of ghostliness to the songs almost sinister opening. But just as she was into the track I believe her pedals cut out, with some sort of message displayed that it was too busy, which was humorous if annoying for her and us alike. Instead, she played a solo on her cello, Bach’s Prelude in G Major, I think she said. I recognised its melody instantly, as I’m sure everyone else did, and whilst this was an impromptu unplanned rendition of this classical piece it was no less warmly appreciated with cheers and clapping and concluded here unique and hugely emotional set of Music.

Review: Martin Harris

Photos: Andy Pountney