Warren Grove, London
Let’s face it. Covid measures have been squeezing the arts too tight and too long and so many among us have been bereft of the inimitable magic of witnessing a live performance. Countless times during Lockdown did I long to spin around a dance floor like an uninhibited loon, and this was my chance.
You might be forgiven for thinking Lockdown Town would merely present a bill of musicians over their two hour showtime in the format that tries to replicate our pre lockdown experiences of live music. If this is the case, prepare to be immersed in a world of historical storytelling and to be merrily pulled around your comfort zone.
Upon arrival at Warren Grove, we are welcomed to the railway vaults bedecked by One Night Records period establishing lightbulb sign and, strewn with socially distanced oil barrel tables, enjoy era appropriate cocktails. Led into a dark moody room, we are engaged by a customs official in some slightly stilted audience interaction (No, I haven’t had The Rickets, but thanks for checking!) and introduced to the character who ties our journey together. We follow a young black immigrant woman, played by a different performer in each bubble, on her journey to her new home: Tulsa, Oklahoma. The music begins with hauntingly reverberant acapella renditions of traditional folk ballads from our host which unites us across backgrounds through our shared experience of music.
Each room has such a contrasting atmosphere, where a rotating roster of talent from the contemporary music scene lend themselves to the roles of musicians from bygone years. starting with the Rock and Roll Studio where Errol Linton and a four piece band smashed out some highly energetic swing and wowed us with his harmonica skills. A show stopping moment came in the Harlem room where Georgia Van Etten took an interlude from her gorgeous loungey tones to give us a saxophone solo… sans saxophone, demonstrating the sheer power and versatility of the human voice as an instrument. Treating us to her wonderfully catchy original song ‘Emily’, Van Etten’s set perhaps felt most personal, whereas George Frakes beautifully inhabited the character of a Dustbowl blues man. Look forward to masterful guitar technique and luxurious vocal tones reminiscent of Tennessee Ernie Ford. If being whipped up into a frenzy is on your agenda, enjoy the Gator Dog Snappers’ set, who will see you over peak party atmosphere with authentic New Orleans Jazz, right down to the joyful rendition of Down By The Riverside and The Saints on departure. Later enjoy Dom Pipkin’s tickled ivory as he transports you back to the Ragtime era. Each musician in their own right should be checked out in isolation (macabre foreshadowing pun intended) but the blend of style and substance created an ambitious quickfire oratorio that needs to be experienced first hand.
The artists performing each night of this show will be different but One Night Records show commitment to fair representation of BAME performers and the even balance between men and women in the workforce.
In concern for Covid safety, the company has incorporated the restrictions into every inch of Casey Jey Andrews’ beautifully designed settings. Sat before stunningly intricate backdrops, in each room we are encouraged to park ourselves on socially distant tables, waiters will swiftly bring orders of drinks and Cajun food that can be taken between rooms. Hand sanitiser flows like champagne at a Gatsby party. (Pro tip: No need for a full pump. Goo for days). Even the brass instruments of the Gator Dog Snappers were covered to ensure the restricted spread of aerosols. Hats off to them and their exemplary brass!
Though it must be said the show sometimes misses the mark. The constantly shifting narrative energy contrasting with the Covid security measures can leave the audience feeling somewhat unsure of what is expected of them. You could tell that we wanted to whoop, cheer the bands, and swing our partners round the dancefloor, but because of such stark changes of environment we were not able to relax into some scenes. Perhaps with more explicit direction or starting the show with an energising warm up act instead of alienation we could have eliminated the tension. The difference in energy between each room can be so abrupt it is advisable to leave your experience of each room behind you as you explore this show. Some details of the experience were misplaced, for example the haze in the first venue rendering the band a silhouette, almost no introduction to the performers and the reverb of the room making the announcements difficult to understand. I’m at least fifty percent sure there was a moment we were invited to enter a dance off competition against other patrons by a disembodied voiceover after the professional dancers delighted us with their tap skill. Did anyone get involved? No they did not. This kind of interaction is derailed by any hint of ambiguity! At many instances we were left watching an actor listening to a radio broadcast, which we could have got away with once, but after the second time felt like filler. As the radio presenter guides us through the story as much as our immigrants friend, perhaps a performer presenting these interludes live would have been more engaging and clear. However none of this detracts from the musical prowess of the performers and the joy of witnessing their artistry first hand.
Whichever day you visit Lockdown Town, you will find a bevy of spectacular performers, ready to make the very best of the restrictions, and exhibiting the tenacity to create work that proves the industry can adapt and thrive through this pandemic. Leave any preconceptions at the door, let yourself be whisked away and you shall surely be delighted.
Lockdown town runs until 30th December 2020 at One Night Records, Warren Grove, London.
