The Big Moon brings joyous harmonies and string sections to acoustic Southampton show
The Big Moon geared up for their sold-out Union Chapel gig with a set of sonic comfort.
Reflective softness flirted with magnetic rock electricity as London band The Big Moon brought a string-backed set to Papillon Southampton.
Following the group’s tour of North America and Europe, last night’s Southampton gig was the first of a pair of closing shows, which feature a more pared back, acoustic lineup injected with hearty string lines and warm harmonies.
The string-supported set, which will also be performed at London’s Union Chapel tonight, unveils an expertly arranged fresh twist on the group’s songs, ranging from early singles to tunes from their most recent album, Here is Everything, a lockdown-created, compassion-filled album that documents vocalist Juliette Jackson’s journey into motherhood.
A mellow set from Alizée Leriche opened the night, packed with soft vocals and reflective keyboard backing from musician Miles Spilsbury.
As the lights went up in the intimate venue, the London four-piece swapped out their usual electric guitars for acoustics, as they opened with a gentle rendition of Wide Eyes, which was backed by string players Kristin McFadden (Prima Queen), Freya Hicks and Blossom Caldarone, before being overlayed with catchy riffs played by guitarist Soph Nathan.
Next came hits including Suckerpunch, which was carried by strong beats from drummer Fern Ford, who worked on arranging the evening’s string-filled renditions, as well as Ladye Bay, an uplifting track underscored by joyful orchestral explosions.
Paired with earlier songs from the group’s second album, Walking Like We Do, which breathe a quality of innocent, responsibility-free youthfulness, the evening illuminated the group’s warp towards heavier tunes that document the fearful confusion and parallel delight that come hand in hand with parenthood.
Before the departure of the strings and an a capella version of Formidable came a tender, heart-filled performance of Satellites. Written by Jackson as an ode to the mothers who came before her, the track was born when the singer was experiencing morning sickness. Softening into a repeated vocalisation of “I could never hate you”, the song evolves into a comforting reminder of love without conditions.
In addition to a haunting rendition of Carol of the Bells, a charged, more rock-heavy performance of Trouble was the highlight of the night. As the crowd roared back the track’s repeating mantra, “Trouble don’t last forever”, a collective catharsis seemed to fill the room, edging towards the self-acceptance and hope that the group speaks of.
Supported by bright, soaring vocals from bassist and keyboardist Celia Archer, anthemic album-opener Two Lines saw Jackson recall the day she found out she was pregnant, a moment that fuelled the band’s latest work, before the night was drawn to a confetti-filled close by joyful, melodic rock hit Your Light.
Throughout the night, complex, layered arrangements echoed the dual nature of change that’s documented in the band’s recent album: the presence of both love and exhaustion, fear and excitement, and tenderness and power.
Through the lens of motherhood, The Big Moon took us on a journey through the giddy joy and consuming vulnerability that accompany growth. And if we can learn one thing from the group’s joyful togetherness, it’s that beyond the muddled arms of trouble, flux, and weight, we can find unbridled, electric beauty.
Photography by Emma Last.