UK Reviews & Manchester Finale
We finished off the UK tour in Manchester with fantastic promoters Northern Noise at the Castle Hotel. We played with a couple of other great bands – We the Dead and Coves (pictured above). There was a torrential down pour that night and it managed to leak through the ceiling right above the soundboard shorting circuits and almost forcing an end to the night. Reams of paper were stacked over and above the desk to soak up the unending leak and we all persevered for a great show to end the tour.
Big thanks to Northern Noise and especially Simon Butcher who ran around manic London to get us two different acoustic guitars throughout the tour allowing us to complete our On the Road Sessions. His family put us up for two nights, one of which was for a show that had nothing to do with Northern Noise, and showed up to three of our shows throughout the tour. Simon writes for Mojo and has put together the last couple issues of Clash, a magazine that will feature us next month. Great promoter, writer and person. People like this make the journey worthwhile.
Excerpts from a few UK reviews…
Deluxe folk-pop from Canuck vocal acrobat
Imagine Jeff Buckley’s untethered falsetto with Stevie Wonder’s warm, grainy tenor. Vancouver-based-singer-songwriter and theatre school graduate David Ward has mastered both, plus all point between. Divided into three sections, The Arrival consists of airy acoustic arrangements peppered with tricksy beat-skipping time signatures, from the silky Laurel Canyon folk-pop cascade of “No More Troubles Under the Sung” to the easy-breezy-sunshine-soul of “Sweet Girl”…Ward is clearly a versatile and ambitious talent.
Ward’s lush, honeyed vocals are easily the record’s outstanding element, and the odd mixture of influences the Arrival often sounds something like Radiohead…as fronted by the young Michael Jackson. It’s particularly effective on tracks like Lost in Translation, which blends his soulful vocals with spiralling, angsty guitar crescendos.
Ward has the ability to move effortlessly from one genre to another, whilst maintaining his own voice. The soaring vocals of ‘Alice Blue’, the gentle tranquillity of ‘Feel This Way’ and the lightness of ‘The Deepest Blue’.