The Unthanks – In Winter – Glasshouse Sage One – 03/12/24
Invited | Review by V. Brewster
Photo Credit: Jay Dawson
As the lights gently dimmed, the sound of a howling wind enveloped the room, setting the tone for a uniquely immersive evening with The Unthanks. The performance took place in Sage 1 at The Glasshouse, an extraordinary auditorium designed to showcase all types of music with impeccable acoustics and a breathtaking ambiance. The soundscape of winter was brought to life as band leader Adrian McNally quietly made his way to the grand piano that featured centre-stage, greeted by warm yet reserved applause. The swirling winds slowly quieted, inviting us into an intimate arena of storytelling and song.
The rest of the ensemble subtly joined the scene, creating a magical buildup to Becky and Rachel Unthank’s entrance. Their arrival, which could’ve comically been mistaken for the Coca Cola holiday truck, was marked by the jingling of sleigh bells, leading into the most hauntingly harmonic rendition of O Tannenbaum I have ever heard. It was a moment of serene yet chilling clarity, perfectly setting the stage for the night’s journey. The band members featured in tonight’s show were: Rachel Unthank on vocals, cello, percussion (and her feet); Becky Unthank on vocals; Adrian McNally on piano, vocals, harmonium, and drums; Chris Price on guitar, voice, and double bass; Dan Rogers on double bass; Niopha Keegan on violin, viola, and vocals; Faye MacCalman on sax, clarinet, and vocals; and Will Hammond on vibraphone, drums, harmonium, and vocals.
The second song Dark December took a sharp turn, diving into a darker, more intense soundscape. Harmonies unfurled, rich and layered, as nearly the entire band contributed to a sinister crescendo. The palpable tension was mesmerising. A surprise jazz solo emerged like an unanticipated gift, proving to be both unexpected and thrilling. It was executed with such finesse that it felt like the show would have been incomplete without it. Each song transitioned seamlessly into the next, avoiding any awkward pauses—a masterclass in performance flow.
Among the highlights was Gower Wassail, complete with its historical context of going door-to-door with a decorated wassail pot, requesting donations of food, drink, and spices. It was followed by The Cherry Tree Carol, which Rachel describes as “the only carol I’ve ever heard that has an attitude.”
The poignant Nurse Emmanuelle, co-written with poet Vanessa Lampert, brought a reflective moment to the evening. The depth of the lyrics and its tender delivery showcased the group’s dedication to storytelling.
One of the standout moments was when the stage darkened, and the sounds of a 19th century brass band playing Christmas songs in the village square floated through the air. This peaceful interlude gave way to more ominous piano notes and an amber backlight that heightened the atmosphere, creating a moment brimming with suspense and gravitas for O Come All Ye Faithful.
River River was an undeniable highlight – when Chris Price opened his mouth, surprising me with a voice soaring through the space so smoothly it rivalled Faye MacCalman’s sax! His startlingly beautiful voice showcased on this track alone – certainly leaving us wanting more.
In a bold move, the entire show featured new material, and the band’s gratitude to the audience for trusting them with this risk was heartfelt. The evening also marked the start of a three-year partnership between The Unthanks and The Glasshouse, celebrating their mutual 20th anniversaries. This collaboration promises more incredible evenings like this.
With their 20th-anniversary tour on the horizon, fans can look forward to revisiting The Unthanks’ extensive back catalogue. But for this night, it was all about the fresh, the unexpected, and the deeply resonant. An unforgettable evening that left the audience eager for what’s to come.