The Barbican Centre, London, Sunday 10th September 2023

It’s rare you stroll into the venue and find the headline artists teaching a couple of hundred people harmonies for a folk song from the North-East. Yet this was a special day indeed as The Unthanks and friends took over the Barbican to celebrate the reissue of their first three (they don’t seem to count or like ‘Cruel Sister’) albums on CD & vinyl by playing them in their entirety. As always with artists as they progress and material for live shows increases, the earlier songs rarely get an outing. So for many attending this was the first chance to hear ‘The Bairns’ material in a live setting.

The ‘big sing’ also acted as a refresher for the bits we would be encouraged to join in over the next 11 hours. Lets face it, this was ridiculous value for money – a whole day’s worth of events and music for £40 if you came to both halves. Best of all, it was in the air conditioned main hall while the rest of London baked.

I’ve tried to work it out and I think this was my 19th or 20th time seeing The Unthanks as, a bit like my other faves Eels, you are always getting a different show with each tour. Not just in terms of a new album or material but in the size of the band which makes a huge difference to the songs performed and their arrangements. On last years Sorrow’s Away tour I saw the larger London Palladium set and a small 5 piece configuration at the Stables, Milton Keynes – a wholly different experience.

I suspect a few reviewers decided to just rock up for the evening shows but they really missed out by skipping ‘The Bairns’ which was where I first encountered the band. Its always had a bewitching organic feel . drawing on ancient traditions and spirits with the eerie ‘Newcastle Lullaby’ acting as their entrance music. The solemn ‘Blue Bleezing Blind Drunk’ as sung by Becky Unthank turns into a swirling dervish with a vengeful Rachel Unthank really relishing the part. The lighting really added to the drama of the performance with the spooky ‘I Wish’ drenched in blood red. Robert Wyatt’s ‘Sea Song’ is majestic with ‘My Donald’ getting a rare outing. The short bridging pieces often added a bit of levity and the set ended with the first big singalong ‘Fareweel Regality’ which was ‘the thing’ that captured my heart when I first saw them.
Although – when I first heard it I thought they were singing ‘Hexham shagger’ and even when I found it was ‘shire’ I can’t unhear that. The Unthanks themselves mentioned suring a subsequent gig that this had been pointed out to them. So I apologise to anyone in advance who now will only be able to hear the filth – and my friends who I was with.

I think my favourite section of the day was during ‘Here’s The Tender Coming’ as ‘Annachie Gordon’ , ‘Lucky Gilchrist’ & ‘The Testament of Patience Kershaw’ just showed off the breadth of their sound, mixing traditional tragic tales with their own songs and social commentary via a 19th century teenage girl working in a coalmine. I always find it a incredibly moving song – the desperate sadness of her life, how the work dehumanises her physically and mentally. The title track lets us sing once more and the melancholy moo d of the set is broken with a joyful ‘Betsy Bell’ – energetic leaps, heel clicks and dancing

‘Last’ is where The Unthanks really began to experiment and challenge expectations of what they were about. Its a bit lazy to use the ‘prog’ phrase but there are definite Floydian instrumental passages throughout. Their performance tonight really ramps up the bleakness and beautiful empathy the sisters express. ‘Starless’ is as wonderful as it ever is – I have no idea what the King Crimson original sounds like but frankly, theirs is the only version I want to hear. It rolls, unfurling slowly, a dark fog of mystery with the band absolutely captivating the room. The Unthanks have been continuing the folk tradition of keeping songs and tales alive so that culture endures but increasingly they can’t be pigeonholed into the ‘folk’ genre.

I know the band often joke about making miserable or depressing music but I love to wallow in the atmosphere created. It makes the more lighthearted and playful material stand out without ruining the flow of the set. ‘Canny Hobbie Elliott’ feels light as air and uplifting – ‘if you find adultery a good thing’ as Rachel reminds us. After the none more black ‘Close The Coalhouse Door’ the sisters depart as the instrumental reprise of ‘Last’ brings the day to a close. The Barbican rose to its feet in gratitude for te sheer effort this all must have taken to pull together.

Added to all this were Devon Sproule & Lucy Farrell playing ace support slots, the good natured crowd and the friendly atmosphere – a day to make memories.

The band were fantastic throughout – Adrian McNally leading from the side on piano, except for The Bairns when Stef Conner took over leading to one of my favourite moments of the day when Rachel praised her for her sparse arrangement at the coda of ‘I Wish’ and Stef explained ‘I just forgot what note I was playing next’. Adrian similarly wandered off stage at one point during the ‘Last’ set only to called back as the next song was heavy on the piano contribution. Niopha Keegan leading the string section and stepping forward to deliver some achingly beautiful solos. Lizzie Jones on trumpet and fluegelhorn was a star on the ‘Last’ part of the show with the albums title track and ‘Starless’ being particular highlights.

‘Bet you’re sick of us by now’ Rachel joked at the beginning of the ‘Tender Coming’ set – not in the slightest. To spend a day listening to such beautiful voices and superb musicians stirring memories with such drama and passion was an absolute treat.

An annual Unthankfest could be a very pleasant thing but then again we only have to turn up like a huge extended family – they have to learn all the songs.