Far From Saints Brings The Bridgewater Hall To Its Feet

Far From Saints, the trio of Kelly Jones, Patty Lynn, and Dwight Baker, are still somewhat fresh off the back of their debut self-titled album when they take the stage at The Bridgewater Hall to the sounds of Louis Armstrong’s When the Saints Go Marching In. After a handful of summer dates and festival slots the band have now embarked on a sizeable UK tour that sees them cement their status as a bona-fide band, warmly welcomed by thousands of early admirers across some of the country’s best venues.

The last (and first) time we saw the band they were performing under the Kings of Leon and as such were at the whim of the headline acts stage design and production. Tonight we get to see the stage style of Far From Saints for the first time and it turns out to be quite charming. Rugs and lamps adorn the stage and an impressive set of fairy lights (think more Trafalgar Square rather than your own front room Christmas tree) are draped from the ceiling and down behind the band in a image that is a little reminiscent of the inside of a circus tent.

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If the décor didn’t scream ‘we’re at home on the stage… literally’ then the performance that followed sure did. The Bridgewater Hall is an all seated venue, something that we’re neither used to or a fan of, especially when you’re being serenaded by music that demands a foot stomp at minimum, maybe even a square dance, but one thing it did offer us was a chance to really observe the contribution and artistry of the band in far greater detail.

Not only do the trio play together like they’ve been doing it for decades, the accompanying musicians on guitar, bass, drums and keys put in exquisite performances. With the stage production being of such a high standard and the performance being flawless throughout we often felt like we’re sat at the cinema rather than a gig, or watching a studio taping. It’s a one take masterclass.

Opening with Screaming Hallelujah means that anyone in attendance not yet familiar with the bands work is given an early taste of how an evening is going to go in the company of Far From Saints. A blend of bluegrass, folk, rock, country, and Americana. They’re not shy about it or their influences either. With Jones freely admitting “we’ve only got one album and one song so we have to play some covers” they pick their tributes wisely starting with The Allman Brother Band’s Midnight Rider.

Take it Through the Night and Lets Turn This Back Around demonstrate the ongoing evolution of the band, away from ‘a Kelly Jones project’ and firmly into Far From Saints as the audience becomes transfixed with Patty Lynn’s captivating stage presence. Later venturing into the audience to dance with delighted fans, tambourine in hand, without a second thought.

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Dwight Baker takes the spotlight to expresses his love for Manchester and reminisces about discovering records from local Manchester bands in the import section of a Texas record shop. He playfully highlights the melancholy charm of Manchester bands like Joy Division and The Smiths before promising us some “Manchester Rave” in the style of Primal Scream…. just via Texas. Cue a cover of Cheap Trick’s I Want You To Want Me and finally we’re all on our feet and how glad we were. We had some foot stomping to make up for. The audience stay stood for the remainder of the gig and the atmosphere is all the better for it.

Centre stage throughout stands Kelly Jones. The man has done it all, time and time again as one of Britain’s most successful songwriters/frontman. The jet black hair, the jacket and even without the sunglasses (what is all that about?) Kelly oozes rock n roll. Most of the audience here tonight will have discovered Far From Saints through Jones’ signature voice (which has aged like a fine Welsh wine), but it has stiff competition tonight as Patty more than holds her own creating one of the most dynamic and exciting vocal duos going right now.

Kelly shares a fond anecdote to introduce us to Richard Jones who joins them on bass. Reminiscing on a 30-year journey with his friend, evoking teenage memories of being held upside down and dunked into a public swimming pool. It’s stories like this and Dwight’s, plus the revelation that it’s Dwight’s eldest son playing the keys tonight, that mean the performers are able to match the authenticity and genuine content of the music itself. They are small touches that make a big difference in how hard you take the songs to heart.

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An encore consisting of two daunting covers sandwiching a Far From Saints original serves as further evidence that they’re onto something special here as their songs don’t feel a toe out of place alongside the American Girl’s and Stop Draggin’ My Heart Around’s of the world.

With their debut album having taken four years to release, we sincerely hope that the next one is afforded some expedition and that the inclusion of new single The Weather Left To Go in the set is a sign of things to come, sooner than later please!