Rob Harbers<\/a>.<\/em><\/p>\nThe Small Hall Sessions are still alive! It\u2019s been far too long between drinks, such being the price of the collectively self-induced period of doom and gloom in which we find ourselves, but there can scarce be a much better proof of life than the magnificent Hollie Smith.<\/p>\n
Incorporating a trio of Sessions into her current \u201cBones\u201d tour, she silenced a capacity audience in the historic (how historic? It\u2019s older than Jamie!!<\/em>) OngaOnga hall, taking us with her for a couple of hours of (nearly) all-new material. Vocal injury be damned, she gave it her all, warts and all, and blew minds with the power and the passion of her delivery.<\/p>\nAs Jamie so eloquently expressed it, we were seeing \u2018the Hollie behind the Hollie Smith\u2019, i.e. the more intimate and raw person behind the persona of the star who can fill arenas and large halls. This tour constitutes a proving ground for new material, as well as a self-imposed deadline for creating that material, some of which has had less than a fortnight since being written. Fresh indeed! As such, the song titles will mean very little to those who weren\u2019t there, at least not until they\u2019re recorded and released into the wild. But at the same time, the setlist will have a historical value, as a means of charting the genesis of Hollie\u2019s next batch of recorded output, as it reaches the ears, and hearts, of its listeners. And a marker in time for Hollie\u2019s first-ever visit to OngaOnga, a bucket-list item for the ages!<\/p>\nIt\u2019s in the nature of an artist such as this for the songs to be deeply personal, reflective of lived experience. This format allows for exposition of the themes of the material, fleshing out the meanings and intentions behind it. First song \u201cFine Lines\u201d , and it\u2019s explanatory introduction, exemplified this, explained as addressing the 5 percent of an otherwise great relationship, the bits that have us hanging on to the other 95 percent in order to get through them! \u201cGrass is Greener\u201d is a rumination on the tendency towards jealousy of the lives of others, and also the creative\u2019s habit of chasing the dragon of the next album, the next award, the next level, always the next \u2013 and having the wisdom, and strength, to recognise the reality behind such impulses.<\/p>\n
It\u2019s equally in the nature of an artist for actual people to make their way into the lyrics \u2013 as Hollie said, \u201cDon\u2019t piss off a creative!\u201d<\/em>. As such, \u201cWait a Minute\u201d reflects the recent break-up of a long-term relationship, but in a relatively subdued fashion \u2013 more on that later! \u201cNothing Spoken\u201d deals with the loss of a long-time friend, and the making of arrangements honouring their passing. An as-yet unnamed song (and strong candidate for future single!) dealt with the break-up in a more direct manner.<\/p>\nHaving reminded everybody to \u201cBuy the merch \u2013 I need the money!<\/em>\u201d, a sad reflection on the current parlous state of the entertainment industry, we were serenaded in to the intermission by \u201cPoint Of View\u201d. This is a song that calls for more tolerance of the differences in people\u2019s lived experiences, and how this plays in to their opinions and beliefs \u2013 certainly a worthwhile cause in these fascistic days of divide-and-rule!<\/p>\nReturning from the break stocked up on merch (the tea towels sold out!!!), saw the final break-up song for the night, \u201cPerfect Storm\u201d, before another which Hollie confessed to still trying to decide whether she likes it or not \u2013 so much so that it doesn\u2019t yet have a name. Definitely showed some potential though, and could probably polish up quite nicely! The intensely personal and compassionate nature of her muse was again on show with the next trio of songs, \u201cWhen Days Were Better\u201d, \u201cForever Wanting\u201d, and \u201cBe A God\u201d, baring her soul (while still slipping in a sneaky reference to \u2018beatings with bed legs\u2019, of the type so clearly in favour with politicians of a certain stripe!). As for the subjects of these songs, well, you\u2019d best get to one of the remaining shows in this tour \u2013 that or wait until they\u2019re released on the next album!<\/p>\n
The compelling \u201cMessage In A Bullet\u201d introduced as being only trotted out for the Small Halls section of the tour, addressed, among other things, the tension between wanting to be informed about events and the overwhelm that\u2019s risked by being informed, and thus aware of the creeping enshittification of almost everything (or so it seems). The final new song \u201cDay Too Late\u201d, finished only a couple of days prior to the tour, led in to a minor song from Hollie\u2019s back pages, the one that no performance by her would be regarded as being completed without \u2013 of course I mean \u201cBathe In the River\u201d \u2013 the song that first brought her in to the wider public\u2019s consciousness. Still as fresh as ever, and a final chance to show off her powerhouse and dynamic vocal turns \u2013 the perfect end to a truly intimate gathering!<\/p>\n
And so, having flared briefly through the winter skies, Macphail\u2019s Comet retreated once more into the ether, promising to return at a suitable juncture. But what an amazing show it brought us, whetting appetites for Hollie\u2019s next release, and allowing us the smug feeling of knowing we were among the first to hear these songs! Want to share in that same smugness? You know what to do \u2013 get some tickets for one of the remaining shows! You\u2019ll be glad you did\u2026<\/p>\n
Were you there at the OngaOnga Hall for this intimate gig? Or have you seen Hollie Smith perform live somewhere else before? Tell us about it in the comments below!\u00a0<\/i><\/strong><\/p>\n
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