ANYONE who thinks a Mercury Prize shortlisting spells instant success for a band should hear Sweet Billy Pilgrim's tales of touring hardship. The Aylesbury folktronica trio's day had begun in a Travelodge in Dreghorn. They'd made their way to Glasgow
not in a bus, nor even in a van, "but in a grey Ford Mondeo with a trailer on the back", complained singer Tim Elsenburg.
Glamour eludes them, then, but they've enjoyed a decent bump from the reception that greeted their second album Twice Born Men. This tour has hooked them up with another band who've benefited from a Mercury Prize nod in the past, Londoners Portico Quartet – an instrumental modern jazz outfit. It made for a cosily middle-class evening – there was even a lady selling cups of hot chai in the corner.
Based around the haunting tones of Hangs – rare instruments like mini-kettle drums that resemble steel flying saucers – Portico Quartet's sound is deeply distinctive.
Their fluent, highly skilful playing – also on drums, upright bass and saxophone – threatens to make real musicianship fashionable again.
They may have reached the limit of their crossover potential with second album Isla, however, while Sweet Billy Pilgrim – who played first – could widen their appeal yet. Their quieter songs suggested a glitchy, stripped-back Elbow, while their rockier moments brought to mind Doves minus the swagger.
There Will It End saw them sign off with mournful pump organ and rousing multi-part harmonies; critical approval at least should continue to flow for this band, even if five-star hotels and private jets remain well out of the question.
