Throwing Muses at Islington Assembly Hall

Throwing Muses
Tanya Donelly
Islington Assembly Hall, 26 September 2014

I first saw Throwing Muses live in the mid 90s, long after original member Tanya Donelly had left. By then Donelly had her own band in Belly, who were actually far more successful, albeit for a shorter run, than the Muses had ever been. Tanya and her stepsister - Muses head honcho Kristin Hersh - at that point didn't seem that close any more and it seemed something of a hopeless dream to ever see them ever play together again. So when I saw that Throwing Muses were coming to London in support of their first album in 10 years, Purgatory/Paradise, and the special guest was none other than Tanya Donelly herself, I couldn't miss the possibility of seeing them finally share a stage again and playing all those old Muses songs I had been too young to hear live the first time around.

I had no idea how the actual show would work: was Tanya joining the band for the whole gig or was she just supporting? It turned out it was a bit of both and it actually worked really well that way. Donelly came on first joined by her husband (and former Juliana Hatfield Three member) Dean Fisher on acoustic guitar, as well as an electric guitarist and a guy on double bass. There were no drums but Tanya played her Gibson SG, which as usual, looked far too big for her tiny frame. I must say she looked great, almost unchanged from the last time I saw her in the late 90s: still absolutely petite and beautiful, with her hair piled on top of her head and that big smile of hers. The set had an acoustic feel with the quartet playing some of the slower songs from Tanya's recent Swan Song series of EPs. What was particularly lovely, even though these songs were quiet and I'm sure unfamilar to some, the crowd was absolutely rapt and silent throughout so that you could even hear the clinking of glasses from the back bar at some points.

In reward for our attention we were treated to some old favourites, like Swoon from her first solo album Lovesongs For Underdogs (which I was surprised to find I knew all the words to) and even more excitingly Belly songs like Slow Dog, Dusted and Low Red Moon (the latter in particular sounded wonderful). There was also a beautiful version of the old Muses tune Honeychain and she ended the set by introducing the poppy loveliness of Not Too Soon as a song she "wrote with Kristin's dad in our kitchen when I was 15". It was more stripped down than on record with Donelly singing the fuzzy guitar line but completely thrilling to hear it sung live as I'm sure I've never heard her perform Muses songs before. That said, it did make me a little nervous that the Muses performance might be a Tanya-less one.

Finally when the Muses did take to the stage it was indeed as a trio: Bernard Georges looking cool as ever on bass, David Narcizo (maybe my favourite drummer ever) hiding behind his drumkit and the tiny, tiny songwriting and guitar genius that is Kristin Hersh arriving with two big guitars in her hands. Wearing a pair of baggy jeans and a little yellow top with her hair naturally blonde and cropped close to her head, I actually was shocked at how much older she looked. She is the mother of four boys (three of which are grown up) and nearing 50 now, so really I should give her some slack, but she looked so much older than Donelly, who is the same age as Hersh, and so, so skinny I actually wondered if she had been ill. I hope that isn't the case or at least she is better now, but I will say it certainly didn't show in her performance, which was as intense and angry as ever, with Hersh's mesmerising wide-eyed dead stare, as her tiny head bobbed like a woman possessed. Yes, it was good to have her back.

As expected much of the first half of the set showcased the new album Purgatory/Paradise. They whizzed through songs such as Sunray Venus, Freesia, Glass Cats and Milan, all short but electrifying. There was also a fully fuzzed out, electric version of Mississippi Kite from Kristin's last solo release, Crooked, which sounded great with a full band. Then all my dreams came true as Donelly returned to the stage in her bell-sleeved top and strapped back on her guitar and they began playing some of my absolute favourites from the first four Muses albums. Early tunes such as You Cage from The Fat Skier EP, Devil's Roof and Bea from Hunkpapa and two songs from Tanya's final album with the Muses (as a full member, she also contributed to the 2003 self-titled album) The Real Ramona, namely Red Shoes and Say Goodbye. Donelly even got to sing one of her songs with the Muses, the quirky and strange Green from their 1986 debut album.

Donelly didn't return for the two encores (the crowd was that excited one encore did not suffice), but it certainly didn't lose anything because of it: there was the twirly pop of Shark, the fevered intensity of Bea, the pure riff-filled joy of Bright Yellow Gun and even the slow-building paranoia of Pearl. Seeing them live again made me wonder why the Muses and these two hugely talented step-sisters, Kristin and Tanya, aren't spoken about more now because their influence on the alternative scene is evident. Also, Hersh is such a brilliant and unique guitarist but, frustratingly, because she's a woman she never seems to get recognised for this. And let's not forget David Narcizo, who I believe is one of the best drummers in rock. His playing is so inventive and interesting, at times I couldn't stop watching him, which is some feat because of how magnetic Hersh always is.

Throwing Muses deserve so much more credit than they get: they are easily the equal, if not the greater, of fellow Boston band Pixies. It was amazing to see them again and be reminded of their greatness.