harriwattsband & Friends at Blue Lamp Wednesday 31st March 03 By Elsie Creek

The Lamp is a great venue, in a good location. There always seems to be something going on there, be it music or madness, so it's no surprise that some patrons never seem to leave. I don't make it to as many of the events as I would like, but this was one I felt compelled to attend, despite the unsociable weeknight slot. I had only seen the harriwattsband once before, supporting the CRACKTOWN Carol's eponymous act. On that occasion, the drunkenness of the audience worked to the advantage of the headliners but to the detriment of the other performers. I couldn't remember much of that night, but I knew the harriwattsband deserved a second chance, with a more sober crowd.

I arrived in perfect time, as the first support act was beginning: Ragtime Dave (Dave Cockerill), familiar face from open mic nights at The George (Thursdays). With his acoustic guitar, Dave goes for a gentle, bluesy style, laid-back and easy on the ear. He seems shy of his voice, for his first number was an instrumental, then after a single solo song, How Long, he got acoustic bass-playing James up onstage to accompany and sing. I think these two are probably better suited to the smaller, more intimate setting of The George.

Both seated on stools, they all but disappear behind the balustrade and mic stands. James' voice isn't very confident, and I have a personal dislike of acoustic basses. They play covers, and in their short set they included two Eric Clapton numbers. Not my cup of tea, I think it's fair to say. However, as a first act they weren't too bad. I liked their version of Key to the Highway - which, I was informed in all seriousness, was originally by someone called Big Bill Broonzy.

The original harriwatts line-up was on next: Derek Harrison, in cowboy hat and muted Hawaiian shirt, on acoustic guitar and leading with powerful vocals; and the ever-cheerful Dave Watts, in jeans and a striped jumper, with violin and all-too-infrequent harmonising. It is a testament to my level of inebriation at the previous event that I couldn't remember more about this quirky pair.

Performing violinists are a rare commodity in Hull. Dave also happens to be incredibly talented - having played the violin myself, I know how difficult it can be to get a nice sound out of it, and yet Dave makes it look effortless. Apparently, amplification is provided by a special violin mic which sits under the bridge of the instrument. the harriwattsband's music would be classed as folk, I suppose, although the style does vary. There's a lot of humour in the songs - all originals, or course - and the occasional darker overtone.

They benefit from the strength and quality of Derek's voice, which, together with the violin, make them stand out from the usual musicians on the scene. Falling Leaves is up-tempo, yet has mournful parts. Maggie May was apparently inspired by Ms Thatcher, who . . . may or may not . . . but the audience wasn't quite ready to get into Derek's jokes. Dave treated us to a tiny bit of singing at the start of the ballad The Wind is Blowing My Way, which was written by a friend of the band. It's a pretty, melodic piece, reminiscent of COWFISH - who also happen to be friends of the band (I don't think they wrote it though).

After my own earlier ignorance, I have begun to notice more how unappreciative audiences can be. I noticed this particularly with the highly amusing Tomboy, about a girl's confusion in her sexuality, when the humour largely went over the heads of everyone present. the harriwattsband managed not to be too devastated though.

They got more of a reaction for the less subtle Ciggy Song, which warns of the dangers of smoking. It begins with some impressively convincing coughing and spluttering, possibly enhanced by the smoggy atmosphere in the pub, and the words . . . have you got a light, boy?! . . . Ominous, and refreshingly different!

The second support act was El Ted, a rather grizzled-looking flamenco-style guitar player. He played a couple of pretty good instrumentals, and then got Sophia onstage. She is ostensibly his daughter, although fortunately for her the family resemblance is not evident. After a bit of a fuss: . . . Do I 'ave to? . . . she started singing. However, though her voice was good, high and clear, she spoiled it somewhat by appearing totally disinterested. Also, El Ted cut all the interesting bits out of his playing in order to accompany her, and after the first song I got pretty bored.

There was no commentary, and so I can't give any song names. They may have been originals - I didn't recognise them. It was mournful, with lots of minor keys, and El Ted incongruously sticking the occasional twiddly Spanish-esque bit between monotonous strumming. Sophia, hands jammed into her pockets, acted highly embarrassed about the whole thing: . . . No, don't clap! . . . but I wasn't sure what response she expected. The music was simply ambient; the stage act nonexistent. It didn't quite have live music's usual bite.

the harriwattsband was joined by a third member for their second appearance: Jenny is a versatile artiste, swapping between keyboard, flute and violin. She uses the keyboard to good effect, with a marimba-style sound for It's the Moon and bells to give a funereal impression for Poor Billy - the tragic story of a boy who goes to war unwillingly, never to return. To begin with, Jenny didn't keep time with the other two so well, but it was probably nerves - I think this was the first time they'd performed together. Certainly, after the first it went better, with Coming Out, which Derek dedicated to the gay community.

The flute wasn't quite as successful: although the image was good, it seemed slightly out of tune all the time. That's no slur on their musicianship; just that the flute was not totally suitable for the style of songs. She does play well though, with the bluesy Sun Lady and COWFISH-esque Angel Eyes just marginally less pleasant on the ear. This Need in Me was the only song in which both Dave and Jenny played violin, and it worked very well. Though the song had me in mind of Eric Clapton, I liked both the combination of two violins, and the vocal harmonising which Dave was able to do with Jenny carrying the tune. The theme of the lyrics was also quite tongue-in-cheek; about the frustration of one's partner sleeping through one's dire physical need . . .

the harriwattsband succumbed to the audience's clamour for an encore, and finished off with a repeat of It's the Moon. Their attempt to get people to join in was a lost cause, but it's no surprise with an apathetic Hull crowd. It was a good night; everyone enjoyed themselves and left looking a great deal more cheerful than when they had entered. And that was not because of the alcohol! harriwattsband email for details of CD

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