Reviews

Tonight, I'm lost in that cinematic world. The Bridgewater Hall is a neo-cathedral, with vertigo tiers stretching as far as the eye can see, and the crowd are a David Lynch movie, crammed into elegant seating, clucking and shushing with confused excitement.

Then the lights dim, the huge backdrop shimmers with thousands of sequin stars, and black shapes begin to move across the bare stage, taking up niches between amps and mics. Suddenly, there’s a spotlight and spontaneous applause welcomes the arrival of Alison Moyet. My heart skips a beat or seven and my heart promptly relocates to my mouth.

Almost instantly, she wins us over. I doubt I have seen anyone so at home on the stage. She moves with ease, chatting in such a relaxed and honest manner with the crowd that it feels as though we are sipping tea in her living room. Anyway, on with the show...

If a voice could melt glass, it belongs to Alison Moyet. Wonderously rich, versatile and expertly controlled, Moyet does with tone what Monet did with colour. Tonight, she is backed by an acoustic style ensemble: piano, acoustic guitar and violin providing the mainstay accompaniment, with drums, synths and electric guitar to add extra spice when required.

In a similar fashion to Eels' performance at the same venue recently, we are treated to cabaret versions of well loved classics. The set meanders a little, and there are a few bizarre moments where Moyet sees fit to restart songs, but she is easily forgiven, thanks to her warmth and jaw dropping talent.

Overall, the mood swings from Broadway blue for the likes of 'Windmills Of Your Mind' and 'Man In The Wings', through bittersweet 'Only You' to soul drenched 'All Cried Out', to the glorious finales of 'Come Together' and 'Don't Go'.

Whether singing songs penned specifically for her voice or rehashed classics, Moyet is flawless. She will be back in with a reformed Yazoo and I urge you to catch this living legend while you can. Stunning.