2005: The year indie rock peaked. The charts are dominated by Kaiser Chiefs, Franz Ferdinand and, latterly, the rise of Arctic Monkeys. It was also (probably) the last year that the NME could be considered the sole arbiter of one’s music taste. Amongst all of that is the release of a debut album that was incredibly ground-breaking for its time. This is Tunng...
Tunng's first long-player, Mother's Daughter and Other Tales, has the vibe of an anthology of short stories as opposed to a debut album, but it sounded like nothing else with its fusion of modern-folk and leftfield electronic production and sampling. It was probably for this reason that it went largely unnoticed. It would only circulate within certain cliques of musos who went against anything played on mainstream radio. However the album, as well as Tunng’s subsequent work, has grown in appreciation and has seen them attract a new and dedicated fanbase. This 20th anniversary show was sure to be a very interesting one and which would celebrate a gem among stones.
Heading into Metronome, we are immediately struck by the brutalist foyer that has striking geometric shapes filled in by bold colours; resembling a Malevich composition. The refectory is layered with concrete and has rather stark connotations of the milk bars of the GDR. All that was needed was a portrait of Erich Honecker with a hammer and sickle banner displayed above it. After being exhorted by an impatient security guard, we are allowed into the auditorium, which is more cinematic and low-lit than your average venue. It’s rare to be at an all-seater venue with cantilevered seats, to watch live music as opposed to football.
The support comes from Canadian conceptual singer-songwriter Dana Gavanski, an artist who is no stranger to working with Tunng frontman, Mike Lindsay who produced two of her early singles One by One and Catch from 2019. Since then, and with the mentorship of 6Music’s Marc Riley, she has powered through the lockdown struggle to release three albums and a new EP.
Her first number was the main conceptual piece with analogue synthesizers layered by her haunting yet angelic vocals. There is a big Laurie Anderson influence detected as it is a piece that offers futurist spoken word with experimental electronics, her stage presence draws on more contemporary influences such as Bat for Lashes’ Natasha Khan, Cate le Bon and Anna B Savage. Dana slights jokes that most of the songs are going to be “sad ones, one about a break-up, but that the end will bring a bit of euphoria”.
The way she shimmers is something to admire. Because she is on her own, there is a chance to have a personal engagement with her as she sings. Her lyrics are poignant, transcendental and solitary; everything that is relatable in the field of relationships, time and the ability to love someone. This therapeutic encounter ends rather wittily with one note on the keyboard. Goodnight.
As there is a trail of late comers, trying their hardest to avoid the front row like a kid at a school assembly or from the comedian’s viperous tongue, the place fills up and the excess of hyper politeness kicks in “sorry… can I just squeeze by?” “Really sorry…”, this is especially annoying when we’ve just sat down.
The arrival of Tunng is greeted with affection from its very affectionate fan-base. The sextet gets straight to it by going into “Side A" to use their phrase. It’s rare to see acts perform an album in full, especially when you aren't all that familiar with it. From the off, we’re treated to some cutting-edge music that doesn't have limits.
The opening number Mother's Daughter has wailing harmonies and elements of a folky Avalanches, which cut through like thorns. People Folk takes on more of a tantric meter with the repetition of each of the verses in addition to the medieval ballad about a muse. It is a shrine to beauty, encrypted with detail that breaks the barriers of perception. This is a portal through which we should all gain access.
The foursome at the front of the stage play a fantastic harmony with energetic acoustics that, in themselves, defy convention. It is, however, the two “sidemen”, if you will, that play main characters. Martyn Smith and Phil Winter provide the unconventional elements to the ensemble. Their use of film quotes, nature sounds bites and the creation of analogue crackling effects creates a sonic montage that tells its own narrative about who the band are and what inspires them.
This method sets a trajectory for them of that which has defined them ever since. After “Side A” is done, you’d assume “Side B” would follow in due course? This didn’t happen - strange decision - maybe the all preferred side A. Yet, the blending of a back catalogue is how sets work.
The most eye-catching member is Ashley Bates. Dressed in an all-white suit armed with a banjo, he takes control by laying down impressive licks while cavorting from one side of the stage to the other. Things turn to outright pandemonium when Bates picks up the Gretsch and lays even more face-melting lice, which amplify the cacophonous segments from the electronics. Everyone is memorised, even if we’re gazing on rows of seats up in the gods.
In the end, the idea of all-seater venues can put off those who want a tangible experience of music. But there are many advantages: the ability to witness a spectacle, to put a distance between yourself and the artist and ask yourself: How does this relate to me? To unwrap layers and find a truer meaning to life. Whatever it is, it offers something different. To use the German, it's a Gestamkunstwerk. A complete work of art.
Mother's Daughter… was ahead of its time. This show reinforced that view.
Tunng performed at Metronome on 19th March 2025, with support from Dana Gavanski.
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