The road to PJ Harvey’s new album has, thus far, been a long and intriguing one. It all began with the announcement earlier this year that she would be recording the new album at Somerset House, and the general public could pay for the privilege of watching her ply her trade.
Following that ‘exhibition’, Harvey has collaborated with renowned photographer Seamus Murphy to produce a book of poetry and pictures. The Hollow and the Hand is a product of Harvey and Murphy’s trips to Kosovo, Afghanistan and Washington between 2011 and 2014.
The pair, along with theatre director Ian Rickson, have produced a multi media show to launch The Hollow and the Hand, and to give the world the first snatch of Harvey’s new music.
The music we have to wait for. The show begins with compere Eliza Griswold and Murphy taking us through his collection of images from Kosovo. Murphy is a compelling interviewee, and his pictures are a powerful portrait of unstable worlds full of horror: images certainly made more powerful by our comfortable situation on the side of the Thames.
Following Murphy’s fascinating insights, Harvey comes to the fore to recite one of her poems in her, still surprisingly strong, west country lilt. Her pastoral cadences serve to highlight just what a powerful and unique voice she has when she begins the first number, ‘Chain of Keys’.
It’s a track full of swagger, and the audience noticeably shift in their seats in response. The second track is an even ballsier tune, as Polly moves from keys to guitar. With the Let England Shake tour, Harvey and autoharp cut a striking figure - but it’s great to see her wielding an axe again.
We revert to chat with Murphy for the second section, Afghanistan. The images become more brutal: a post-airstrike corpse fills the screen. Harvey responds with ‘The Orange Monkey’, one of the less strong tunes of the night, but swiftly follows it up with ‘Dollar, Dollar’. It’s a sparse but compulsive piece of music, and Harvey’s vocals are powerful and striking.
The third section, Washington, sees fellow musicians, long time collaborator John Parish and James Johnston of Gallon Drunk, step up. Both musicians take up key vocal duties on a couple of songs. Their deep and penetrating voices match Harvey’s most powerfully on the full throttle ‘Near the Memorials to Vietnam and Lincoln’.
The show ends with an explosive rendition of ‘River Anacostia’, which earns a standing ovation from the whole of the voluminous seated venue. This consistently inventive artist, and her collaborators, have created an engrossing evening that refreshes and expands the ‘pop gig’ format. Equally, it acts as a great introduction to the narrative of the book.
That’s not to say the show’s format isn’t sometimes jarring. The transition from Murphy’s commentary to Harvey’s poetry and music does’t always segue as smoothly as it might. But, this is a minor grumble for what is, otherwise, a captivating evening.
The only really disappointing thing about this evening’s show was the revelation that we will have to wait until spring for Harvey’s new material. Spring! Yet another reason to be grateful for this evenings preview: it has but fanned the flame of expectation.
PJ Harvey played:
Chain of Keys
The Wheel
The Orange Monkey
Dollar, Dollar
The Community of Hope
Homo Sappy Blues
Medicinals
Near the Memorials to Vietnam and Lincoln
The Ministry of Social Affairs
River Anacostia
