Bryn Christopher

Soho Revue Bar, London – 09.07.2008

The industry-heavy crowd are barely moving out of their metaphorical glass cages, but Bryn Christopher doesn’t seem to care. Where his Stax fascination comes from is irrelevant, because his performance is so passionate that those who don’t notice should be forced out of the venue, at least in spirit.

He’s uncontained even on the tiny stage, and at this early stage in his burgeoning career we get the feeling he’s ready for bigger venues. Christopher’s chit-chat exudes confidence and shows just how much of a natural performer he is. It’s not a genre where the wheel’s likely to be reinvented, but what marks this guy out amongst the minions is his sheer enthusiasm – he struts his stuff, commands his audience, and makes a convincing argument that his voice is to be believed.

On the face of it, the songs disguise themselves in a breezy old-school soul façade. But much like the roots they’ve come from, the ponderings are far, far deeper – ‘The Quest’ is broadly influenced by his brother serving in Iraq. Not in a James Blunt selling-point kind of way, either.

By way of belated introduction, this 22-year old Birmingham-based singer/songwriter received notable attention from the use of aforementioned ‘The Quest’ on hit US television series ‘Grey’s Anatomy’. But he’s far from a one-hit wonder – he even covers Portishead’s ‘Sour Times’. We can’t help feeling that it would work far better on a bigger stage with brass and strings, nonetheless – but we’re also sure that this’ll end up happening pretty soon.

It’s a wonderful mix of Sam Cooke, Wilson Pickett, Amy Winehouse, and McAlmont and Butler soul – with multi-faceted lyrics sat on top of an outwardly soulful, altogether brighter fascia. It is an homage, rather than a synthesised/modernised version of soul – but if it’s worked for Duffy’s take on Dusty, then it certainly works here.

His affectations are timeless, the little quirks in his voice truly bringing to mind the soul greats. And the band is more than proficient enough to match Christopher’s zeal. The range of his voice is remarkable, ranging from deep down Marvin Gaye opulence to way up high Al Green falsetto.

He’s the more-acceptable-to-like Terence Trent D’Arby for the 21st century, and there’s high praise if ever you saw it.