Agnes Obel arrives in Manchester with a dazzling visual spectacle and an arsenal of supremely brilliant compositions. Support comes from composer and cellist Peter Gregson.
PETER GREGSON
Peter Gregson has toured with Agnes Obel before. For anyone that has seen the London based cellist before, you know that you are in for a treat with Gregson’s original compositions and reorchestration of classics.
In his forty or so minute long set, Gregson plays a selection of tunes from his self titled album of 2025. Sphere and Prayer are both highlights that showcase Gregson’s talent. Throughout, there is a great use of layers in the music with Gregson adding his live cello parts. Long long bowed notes sweep and beautiful plucked motifs both create a wonderful ambience.
His reimagined takes on Bach’s cello works are also greeted warmly. When the tour started in Tolouse, Gregson remarks that the temperature was close to forty degrees and playing faster pieces like 2.3 Courante were probably the wrong choice! No such temperatures to deal with tonight, however. The brisk tempo lilts around the AVIVA Studios Hall as Gregson’s hand moves up and down the neck of the cello at pace.
To close out, Gregson delivers his take on Charli XCX’s 360 that was featured in Bridgerton. It is a real crowd pleaser that leaves the crowd ready and in the hands of Agnes Obel. There is a real emotion in the way he plays his pieces.
AGNES OBEL
As Agnes Obel and her band take the stage, all in white, there is a real sense of anticipation in the air. Bright light and silhouettes glaze the retinas as Red Virgin Soil opens the set. Driven by the percussive skills of Julian Sartorius and the cello of Marie-Claire Schlameus, it is a stunning opening. Hinako Omori adds the repetitive melody on keys with Obel laying the foundation.
The lights come up as Obel talks of her love of Manchester. It is hard not to be blown away by the quality of the venue; this is acknowledged from the stage. Fuel To Fire follows; a song featured in the TV show The Last Of Us. Many know this song such is its popularity. The silhouettes are intensified as the staged is bathed in projected red.
Several new songs make their way into Agnes Obel’s set. One is The Meaning Of Flowers. It features some stunning vocal harmonies from the quartet on stage. Visually, a swathe of radio waves flicker; think Joy Division’s Unknown Pleasures cover art, but on a grander scale. Obel then introduces her band early. Each player is an artist/composer/producer in their own right, and it is clear that the band have strong chemistry and musical skill by the bucketload.
CHANGING TEMPOS
Another new/unreleased song is Faustian Deal. Echoing the dark title, it is haunting and hypnotic. The percussive tempo veers into jazzier territory and the closing of the song spirals to a thrilling crescendo. Each element of the show, the music and the visuals, play off each other elevating the experience of the performance. It is spectacular. There are clearly cameras and equipment about the stage but they blend in with the rest of the setup which makes the look of the show feel quite futuristic, kaleidoscopic and otherworldly.
As Gemini concludes, a person in the crowd simply says ‘wow’ before a huge applause. It is an apt sentiment and echoes the effect that this music and performance has on its crowd. Blood So Red is a late set highlight; the depth and texture of the music is hugely immersive. Never Been is a dreamier affair that demonstrates the range of styles in the catalogue of Agnes Obel.
With the show drawing to a close, Obel performs two of her most well known pieces. Riverside is greeted with huge applause, and The Curse closes things to an even bigger ovation. Manchester knows that they have witnessed something special. The talent and skill on show is truly spectacular. Agnes Obel mentioned that her new album is just about done; it is clearly going to be an album to look forward to if the new material is anything to go by.
Agnes Obel: Website
Peter Gregson: Website