Dan Smith (Bastille) dropped Ampersand ‘&’ back in October. Last week he played his first shows Stateside for the project, including two shows in L.A. TRB was there both nights and photographed the sold-out second show!
What is Ampersand? To most, it is just the definition that comes up when you Google it, the sign & (standing for and, as in Smith & Co. All puns aside, Ampersand also means Dan Smith’s latest music release (see what I did there) and his first solo project. The collection he refers to as “story songs” dropped last month on October 25th. It sees the Bastille singer trace the origin stories and evocatively capture the emotion of different duos and couples in each song. After touring throughout England and Europe, Smith and Co. arrived here stateside for three shows in Los Angeles and New York City.
The Reclusive Blogger attended both shows in Los Angeles and photographed the sold-out finale. The openers were two of Smith’s current touring band for Ampersand. Charlie Barnes opened up on night two, and Moira Mack (a relatively new and undiscovered talent for me) on night one. The two shows were held at The United Theater on Broadway in DTLA. The shows highlighted a range of impeccable talent onstage with Dan, which included Merrick Winter, A.K. Patterson, and Florrie to round out the stage show.
The night I photographed the show, long-time touring member and jack-of-all-trades artist Charlie Barnes was the opener. Although he was in his element, he seemed a bit nervous, and I loved the operatic tone of his vocals. They also filled up the room. Another thing of note was the themes of many of his songs. They seem to vacillate between hopelessness and hopefulness. He also dedicated many of his songs to his wife and son. It was a highly commendable set. Moira Mack is a newer artist to me. I had only learned about her from her work with Dan on this project, but her performance the day before was gripping. I could easily see why Dan is in awe of her talent and voice. Her set blew me away, particularly her cover of (Sittin’ On) The Dock of the Bay by Otis Redding.
So, how did Smith & Co turn a ruminant and earnest collection of music made with a group of close friends into something that feels this grandiose, lush, yet intimate live? That is the question my mind continues to ponder as I write this. I was flabbergasted at how this translated so magically at the shows. Two things I believe played a large part and where I keep going back to are the choice, or shall I say, change of instruments. The guitars take center stage here at these shows. Dan even took the time to learn how to play guitar properly. Under Bastille, he’s known for expressive Piano skills, so this was something new. The piano still has a presence onstage with Dan and A.K. Patterson, who also plays the violin during the show.
If I were to say a genre that influenced that project and gig the most, it is easily Folk Pop. The show opens up with the Indie Folk influenced and Pastoral sounding Intros and Narrators. The acoustic guitar picking was heard up front while a soft piano played as accompaniment. The ‘Aye, aye, aye-aye, aye, aye, aye-aye, Ayy, oh-ayy” lyric begins the song is layered on the record. Now, it becomes a chanted and harmonized live onstage gang vocal. One that the audience tends to sing along with. It also sets the vibe for the night. We have reinvigorated songs, a cast of characters told through songs and storytelling, incredible live soundscapes, and witty banter from what may or may not be an unreliable narrator, all in a seventeen-song setlist each night.
While you don’t get a history lesson in songs, nor should you even think so. There is something about these songs that feels different and sounds different than anything we heard Dan release before. I’m not sure if it’s just a newfound confidence. It could even be finding a sense of Home or identity within this soundscape of music. Even his onstage presence has taken on a more relaxed persona with witty banter during the songs in between. This was refreshing and felt like a great addition to a show structured around his different story songs.
Folk-pop melodies and influences are sprinkled quite a bit in the first half of the set. From the Alt-Country twang in the Emily Dickinson ode, Emily & Her Penthouse in the Sky, to the tragic tale of Narcissism in its original form on Seasons & Narcissus. Even the melancholic tale about lost love between Leonard Cohen and Marianne Ihlen, on Leonard & Marianne. The twinkling Indie Pop take on Bastille fan faves Pompeii and Good Grief were absolute stunners with the addition of new fresh voices and tracks like Eve & Paradise Lost, which is a retelling of the story of Adam and Eve for a modern world seem stark in this time in which we currently live in.
Drawbridge & The Baroness is loud and cheeky, suddenly cutting through the din of theater with its noisy guitars, Wurlitzer organ, and even a glockenspiel. The song is such a treat to hear live. Florrie’s drumming gives it a much-needed texture to the live performance. So, yeah, I might have been headbanging.
Some other highlights for me were the utterly delightful Essie & Paul. This song highlights Dan’s vocals exquisitely, as the music is all orchestral. He was also up on his feet for this song with just him and the microphone. The song tackles the famous and complex marriage and relationship of Paul and Eslanda Robeson, who were civil rights activists. Paul of course was a famous Bass-Baritone and Black leading man and actor. The song is told through the lens of long-term love. The opening lyrics of Essie & Paul. “Our Love is like a River, overflowing over time, Running wild, filled with life”, are my favorite from the album and speak to me quite a bit.
Zheng Yi Sao & Questions for Her is a song about the Chinese Pirate Queen. Those were Dan’s words, not mine. Some other treats from that night were the Orpheus & Eurydice demo (which is set to be released soon, and, no, not that Soon), and seeing Dan talk a bit about his parents, who are from South Africa and inspired one of my favorite songs on &. Telegraph Road 1977 & 2024. A song Dan had co-written with one of his oldest friends and fellow musician Ralph Pellymounter, using a poem his father wrote in the 70s while traveling in the States. The addition of Charlie’s piano makes the song more poignant.
It wasn’t long before we had reached the end of the night and the last song, Blue Sky & the Painter. The song is about Edvard Munch and his battle with Depression and how it fueled his art, ultimately becoming a double-edged sword for him. The stage was awash in moody candlelight and/or hazy red light the entire night. That was until the last song was played. Blue Sky & the Painter, and the chorus sang, Is that a blue sky? Is that a blue sky? Yes, it is.
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