John Grant is a complex character by anyone’s definition – a man with a chequered career and past, well-documented struggles and strains (no more so than in his lyrics) – and someone who does not conform to the norm.

 

It is no surprise then that his show at the Dome on Friday the 13th feels like a reflection of the man: full of variety and revelation, brilliance and flaws. I feel like I’ve got to know him a little better but I love him a whole lot more.

 

Grant veers away from conventional bombast at the start of the set – the first 6 songs are all ballad territory (although ‘Down Here’ is given a heavier treatment than the album version). The results are mixed, partly because of a muddy sound, but the quality of the material is never in doubt. Even with overall sound issues, Grant’s voice soars majestically above the mess – silky and smooth, with more horsepower than a Ferrari.

 

Dance, punk and funk sections all have significant parts to play in the makeup of the set. ‘Glacier’ and ‘Queen of Denmark’ are beautiful unions of balladry and punk, and provide the evening’s adrenalin shot: ‘Glacier’ with its last-minute sonic explosion and ‘Queen of Denmark’ with its visceral hunks of unadulterated raw power. ‘Disappointing’ and first encore, ‘Voodoo Doll’ are a great alchemy of funk and dance – like a crossover of Chemical Brothers and Sly and the Family Stone. And, although it mashes the Dome’s soundsystem with its booming house bass drum, ‘Pale Green Ghosts’’ lighting creates a green haze, with the prominent silhouettes of Grant and Budgie (The legendary Banshees’ drummer) casting the ghosts.

 

Despite some dodgy sequencing of tracks, untidy sound and headache-inducing lights, the unmistakeable voice of Grant’s is the star of the night (closely followed by the shy, charming, beautiful bear of a man). To experience it live makes you realise that not everything on record is smoke and mirrors – the man can produce the richest, chocolatey of tones at will, and – whenever the situation demands it – can cut through the mix with a voice that would sandblast years of filth off a motorway-side pebbledash terrace.

 

After a 15 song main set, Grant re-emerges with a 5 song encore, containing the unexpected treasure ’Drug’, a Czars’ song full of melancholy, classic chord shifts and velvety melody. However, ‘GMF’ gets the most cheers of the night, a glorious ballad with rousing chorus, “I am the greatest motherfucker you’re ever gonna meet”. On tonight’s evidence, who am I to argue?

Adam Atkins