Rae Morris @ Komedia Studio Bar, Brighton, 25.02.14

There’s something intriguing about seeing a major label artist in a tiny venue. Far from being underwhelming, it seems like things are being allowed to happen in their proper order for once; the A&R ‘fat cats’ are eschewing the quick buck for longer-term rewards, and recognising a young talent for the fragile entity it is. In short, it seems like the artist in question must be really quite good.

Rae Morris is still just 19 years old, and since signing to Atlantic fresh out of sixth form, this precocious singer-songwriter and pianist has been bubbling up in all the right places. Three EP releases, plus support gigs for the likes of Noah and the Whale and Bombay Bicycle Club (on whose current single “Luna” she also features), have fostered a genuine fanbase and a sense of anticipation for her debut album, which is being produced by Ariel Rechtshaid of Vampire Weekend and Haim fame.

There is a hushed reverence among the predominantly young crowd in the Komedia Studio Bar. With a mane of wild curls, and bright eyes, Morris is every bit the lovable, down-to-earth star next door. The front half of the crowd sit cosily on the floor – the better to bask in the folk tinged balladry ahead, no doubt, but I can’t shake the impression they have popped round Rae’s for a slumber party.

New song “Skin” is an excellent opener, with its gently suspenseful, tick-tocking piano intro, Joanna Newsom-lite vocal touches, and multi-layered instrumentation hinting at the eclectic sounds to come from Morris and her band of bassist, drummer and synth player (the latter two also contributing to spine-tingling three-part vocal harmonies on various songs). Refreshingly raw, it feels like this is Morris just doing her thing, much unchanged from the years of gigging she put in, pre-record deal, in and around her native Blackpool.

 

Following some endearing patter, which reveals a supremely breathy and husky speaking voice (think Mary Anne Hobbs and then some), one of the most popular tracks of the night is “Grow”, an early release that still sounds fresh and original, highlighting those preternaturally mature songwriting skills; while a beat-driven sound on upfront album track “Closer” bodes well for the future. Morris’s first solo voice and piano foray is “Don’t Go”, best known as the tear-jerking soundtrack to the last ever episode of Skins, and it mists up a few eyes here too. Her unabashedly sweet, forthright style at times recalls late ’80s and early ’90s heroines: on this track, Cyndi Lauper springs to mind.

While the piano-heavy format threatens to drench proceedings in a Radio 2-friendly classic pop lacquer, the mix of folk and contemporary electronic influences keeps it fresh, and Morris’s classical training enlivens her compositions with unexpected twists; not to mention her impressive voice which she playfully uses to its full potential, filling every line with personality. “For You” ventures into the abstract, with a chorus formed of a yodel-like cry, followed by the line, “To make that call for someone, to show them all you’ve got” – a distilled drop of poetic beauty.

With no backstage, Morris gamely steps down into the audience, emerging back up into the spotlight with a grin for the encore; “Not Knowing” is an existential lament that serves to highlight once again the wide-eyed youth of this artist, while pulling into sharp focus the self-awareness and articulacy that will see her filling venues 50 times this size very soon.

Rosie James.