Does Anthony Reynolds have the most seductive voice in the world?
The baby-faced charmer with the bedroom eyes apparently doesn't like live performances (and also apparently needs large quantities of alcohol or other substances to get him through them) but he really should relax.
He has a lot to offer both as singer and songwriter, and surely the world is going to wake up to that soon (if the drink and drugs don't get to him first).
Jacques, Anthony's movable feast of artists - including The Divine Comedy's bassist Bryan Mills - were at The Borderline to promote the release of the superb new album To Stars. Early indications were a bit dodgy: the support band had cancelled and the place was still virtually empty at 9.30. One of the backing singers (James Cook - alias Nemo) filled a gap by singing a handful of his own songs, but the atmosphere was distinctly flat. However all that was to change.
Mr Reynolds doesn't seem to believe in big entrances, kicking off his set with just keyboards, drums and that glorious voice, in two of the lower-key tracks from the new album - London Loves You and This Is What You Do. Numbers on stage crept up for the instrumental Theme from Loved as a Child. By the time we reached The Orchestra I Loved - possibly the most seductive song ever written - there were nine people on the minute Borderline stage, including two violins, three assorted guitars (not including Anthony's own Elvis-emblazoned acoustic) and an accordion. The latter is an essential ingredient of Sad In The Sun, to be released as a single this summer, and very good it is too.
Four more new songs followed - including the single Blue Party and the great Abba cover The Day Before You Came. By this time Anthony (having shed his Lou Reed shades to reveal eyes that seemed to have seen too much of the day already) was looking distinctly weary and rather depressed. Whether this was chemically induced is hard to say, though he was also clearly unhappy that the audience weren't concentrating on his every word - I can't really blame him for that (there was a lot of background noise) though a more secure performer would perhaps have been able to take more control.
Anthony should take heart from the fact that there was a lot of genuine appreciation and the calls for more were rewarded with two final songs. Again reduced to the bare minimum of musicians, we were treated to a fine version of Anthony's personal favourite, Dress You In Mourning from the early Jack album Pioneer Soundtracks. It encapsulates his work perfectly - mournful, even at times suicidal, but utterly gorgeous both musically and vocally. Here's to a star.
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