More about: LUMP

Situated amongst the bustle of King’s Cross is Scala: a gargantuan, art deco beast that boasts a cavernous hall with a tiered standing system. Once inside for a performance from LUMP, you completely forget you’re in central London, concerned only by the microphones, which are whimsically dressed in what looks like tulle. 

LUMP—better known as Laura Marling and Mike Lindsay—are playing a small UK tour to support their second album Animal. The album itself makes use of intimate sound design and evocative reflections on fame to blend the best of folk and electronica. Mike Lindsay of Tunng fame handled the record’s production, whilst Laura Marling, one of the most underrated singer-songwriters today, wrote the lyrics and provided the gorgeous vocals that tie the tracks together.

Animal is not a record I’d envision succeeding live, but the duo do their best to elevate most of the tracks in order to bring it out of the restricted atmosphere of at-home listening. Opener ‘Bloom At Night’ sounds even more enchanting with its swirling synths and gentle horn section, like the beginning of a psychedelic children’s show. The track also benefits from the live audience as the beat drops, and we're greeted with a growling riff that ripples throughout the rest of the track. The eponymous track ‘Animal’ is particularly enjoyable to move to, and the harmonies that Marling and Lindsay add create a sense of pleasant fullness. 

The musicianship of the duo is also on full display; Marling’s voice is just as ghostly yet powerful as always. From her croons on ‘Gamma Ray’ to the legato siren melodies of ‘Curse of the Contemporary’, Marling reaffirms just how impressive of a singer she is. Lindsay doesn't let us down either, granting us generously with multiple guitar solos from their debut self-titled. Whilst Marling typically stands stoic and still, Lindsay jumps, head-bangs, and plays some righteous, riotous solos. Some tracks, however, aren’t quite delivered to full effect: the fuzzy, nightmarish ‘Red Snakes’ could have been played much more menacingly than on the night. ‘Phantom Limb’ is also a little stale and ill fit as the set closer. 

Die-hard Marling and Lindsay fans would have thoroughly enjoyed them playing and to be back in the gig environment. LUMP, being a side project, would have probably structured the live shows as uncomplicated fun for the two musicians. Watching LUMP was almost too straightforward: against the wider industry, there wasn’t much to write home of, but it was an uncomplicated and enjoyable night of entertainment nevertheless.

More about: LUMP