LIVE REVIEW: MARIANNE LEIGH, GRACE KELLY & ISSA ODYSSEA - STAR OF KINGS - KING'S CROSS

There are not many gigs that require you to open a bookcase and then descend a steep set of steps before entering, but welcome to the Star Of Kings. Eventually it opens out to a nice space, the stage is in one corner with a tv screen as a backdrop, there is a box on the wall that suggests the TV comes into use for karaoke nights. The reviews say the place exudes a shabby chic, the walls are bare brick, the lighting apart from the stage is gloomy, the only other light coming from lit up mild erotica pictures on the wall. A few seats are scattered around the venue but predominantly you are coming to stand. Initially it provides a respite from the heat, however that will prove to be temporary, as later it will become something of a sweat box. The only gripe on the night is a cracking sound that will find its way into all three sets, but each artist will find their way though it.

Primarily we are here to see Grace Kelly, having fallen in love with her "Table For One" EP, when previewing Buckle & Boots 2023, she's been a little missing in action since then, apart from some scene stealing backing vocals on Rob Jones's releases. It is Grace who greets #TEAMw21 on our arrival, mid way through penning her set list which we can't help but note has some new songs on it as well as others that we know and love.

From our opening conversation #TEAMw21 knew that Grace was a few band members down, which was going to leave her with just percussion and fiddle joining her guitar - from the opening moments it was clear that there was nothing to worry about - all would work out fine.

The pure pop of "She Walks" would start things, fast, vibrant and knocking the recorded version for six. With Grace leading from the front, ably supported by Ozzi Hunt on drums, who had a very sympathetic way of playing, that matched the venue and the reduced band size, while Shimna Higgins, with stunning green hair would instinctively find an inventive fiddle line throughout, as well contributing backing vocals - So good were they that Grace could not help but introduce them during the opening number!.

Attributed to "Visa stress", a new song to us "Hate", would start with just Grace singing sweetly, over a slow guitar contemplating "6 months without seeing you".

The pace would soon pick up with the arrival of the percussion, ramping up the volume. With a big power chorus that would see Grace fire out the lyrics at pace and volume, this is the sort of thing #TEAMw21 have been waiting for. Slightly disadvantaged by being located in Manchester, Grace definitely needs more of these gigs in London to raise her profile, as she more than has all the abilities to quickly build a following on the local circuit.

Keeping the pace upbeat, "Guilty Pleasure" from that 2023 EP. sounded fantastic. The crisp percussion and Shimna's divine fiddle lines, when matched to Grace attacking the vocals with gusto was an unstoppable force.

Another song from the EP, (in fact it appears twice), "For Us To Change", would see the 3 piece once more build up a rich compelling sound that seemed to be bigger than just the three people on stage. Grace similarly took her vocals all the way to defcon 1 with some searing powerful deliveries before fading away at the end once more to barely a whisper - it was a great ensemble piece.

The first cover of the evening came with a cover of Paramore's "The Only Exception", which would see the room not only light up with phones, but would see teenage members of the crowd act out every line with a passion. A quick poll of audience home towns, also revealed the assembled throng to be about 90% Kiwi!

A new song "Bad Idea" was another piece of pure pop with attitude, that Grace seems to excel in, with powerful vocals wrapped around a multitude of hooks to grab the listener.

The rest of "Table For One" would close out Grace's set, first off "Supermarket Aisle", with Grace's vocals initially dreamy

"A kiss that got turned down

Cos I got the right person right now

He's the exhale I've been needing to breathe out"

before asserting themselves once more on the chorus while Shimna and Ozzi provided a sumptuous backing of swirling fiddle and insistent percussion. Grace's ever rising, ever powerful vocals on the later choruses were a joy to witness It was a perfect reminder of how excellent that EP is and what vocal talents Grace has.

Grace's set would fly by in what seemed to be seconds, closing with the classic "Carry On" which was the first track that reeled us in couple of years ago

""I wish I could bring you in my carry on

But my flights in an hour and I've got to get gone

I'm hoping for things to go back to how they were before

Now I just lie - just another kiss goodbye

After all this is said and done I hope we find the strength to carry on"

Even years later there is so much to enjoy in that chorus and tonight Grace brings a strength, self assuredness and independent sassiness to it - the perfect way to close out a set.

Grace was in fact co headlining the night with fellow Kiwi Marianne Leigh, a barista by day, but with her blonde hair, fishnet tights and boots, she was something of a rock, pop, country princess ( with a tiarra ) by night ,- with the skills to succeed in whichever of those areas she chooses to conquer.

Technical difficulties meant that her arrival on stage was delayed, something that could easily have phased a lesser artist, Marianne seemed to take it in her stride as she later would, when she was performing with someone headbanging their way to a concussion in front of her or a front row of girls dramatically joining in with her, living every word in the most expressive of ways.

It should be noted that by now the temperature was sauna like as the drum beats finally kicked in to let us know we were underway, and over which Marrianne would deliver much of the first verse of "Shut Up And Eat your Dinner". With Marianne hand holding the microphone, she was something of a magnetic presence drawing the attention of the crowd.

Immediately launching into one of her singles "Obsessed" Marianne would be holding out her mic for the audience to fill, this fast paced, wordy lyric would establish her pop princess credentials, where she had the requisite gestures and facial expressions required.

After getting everyone so excited, Marianne would put on a guitar, for her teenage angst song "Best Of Me" and move to a more introspective singer songwriter mode. The band would kick in after the end of the chorus and would make this a most powerful ballad.

Her dating "Hinge" related song "Something" has a bossanova feel about it, with sassy lyrics over a slick relaxed rhythm.

There would be a swift return to the stage for Grace Kelly for a quick cover version, No sooner has Marianne sang "It's fine , It's cool" then the audience were as one, joining in on Chappell Roan's "Good Luck Babe".

Marianne would explain how "Ordinary" was a response to a boyfriend who did not make her feel loved. With a scene setting guitar intro, the verse would lead into the effortless silky smooth chorus which the front row lapped up and visibly lived word by word.

From there it was the pure pop of "Box In My Brain" with seemed to build and build, gradually becoming a rock anthem. Marianne would truly assume her rock goddess persona by putting on an electric guitar for Avril Lavigne's "Complicated" which was the cue for another mass singalong

In one of the evenings more surreal moments the band would all don blonde wigs, with mixed success, so they could all look like Marianne for "Clone" for when you look like you partners ex. Built around a nice powerpop riff - this would see Marianne at her most rock chick feisty. The slick rock pop sound continued into "What's A Girl Gonna Do?" where Marianne was once again a myriad of expressions, with the crowd joining in on the clapping of the bridge.

For someone that we had little knowledge of previously Marianne was highly entertaining and just like Grace Kelly, the time with her seemed to fly by.. Closing out with her song about being a "Crazy Bitch" - "Crazy GF" with it's "Tell everyone" chorus A final combination of power drumming, driving bass and great guitar providing the platform for Marianne to lay down her sassy lyrics , With a performance like that you'd imagine that Marianne's barista days are surely numbered. it certainly closed out a thoroughly enjoyable evening in great style.

The evening had started with a set from Issa Odyssea, originally from Sweden but now based in London, she is a multidisciplinary artist who creates work spanning music, film, poetry, and visual art. As she took to the stage, her initial strumming seems to be a sound check and then all of a sudden she launched into the opener "These Days".

It should be noted that Issa's intensity on stage while singing, closed eyes, serious outlook was matched by the most cheeriest of between song chat and a broad smile once off stage. "These Days / Outspoken Introvert" was slowly picked out on guitar, then matched to deep vocals, there were a lot of words to absorb. It stunned the room into silence

"These days,I'm waking up at noon

It takes about an hour just to stumble out the room" are one set that grips us as is the later

"I'm an outspoken introvert, heartbroken optimist

What's the point in changing, if the only thing left

Is watching the apocalypse?"

The second song "Tokyo" saw Issa bravely go for an early bit of audience participation which went really well and proved the crowd to be surprisingly harmonious.

The opening saw Issa seemingly taking on the role of her favourite TV show

"I've been watching 30 episodes La Casa De Papel Makes me think that I could rob a bank

And boy I might just do it well"

With lines in Spanish, it was a lot to take in, however it ended with the sweetest of crowd singalongs.

Taking off her guitar,,her laptop would become her backing, for "Souled Out". The lyrics were too deep to take in on first listen but they were undoubtedly heavy

"You don't get to turn it off - you don't get to look away

If this is what your money bought

Then you don't get to hide your face"

The initial atmospheric backing would give way to drums and electronica. Issa holding the mic with her right hand was highly expressive with her left. It was hard to balance the sound and our position under one speaker was not ideal.

Moving to the keyboard, with additional laptop help, the songs had an air of despair - "Bleeding Blue" a slow hypnotic tune opened with

"Night Sky like coal - Guess we're really getting old now" The lyrics were fired out fast, seemingly with no need for additional breath.

It seemed to be about a dysfunctional relationship but that may be a dangerous assumption. Issa would finish each song with a sweet "Thank You"

Issa would grasp her mic with both hands and sing, before later using the keyboard with a traditional keyboard sound for "Letters To The Sky" during which she would give an almost angelic delivery.

"Chimera" would come with an insistent robotic drum beat, while the "The End Of The World" would see Issa caress the keys before starting to play. It was haunting, and saw Issa close in a jazz like climax, like Billie Holiday on "Gloomy Sunday". It made for a fascinating set and as eclectic as it was, at times she had a number of fans mouthing along to each line .