“Tonight is a far cry from playing to a room full of his friends who only ever saw each other at his shows and subsequently spent the whole night talking…”

Full disclosure: I know Robyn G Shiels very well. Back when he was a not-so-humble shop keeper I was his humble assistant. It was probably the best job I ever had.

Anyone who remembers the infamous newsagents, will have their own stories. Music was a constant and woe betide anyone who complained about the volume. A lot of time, the music being played was Robyn’s own, but then he has always been his own biggest fan. And then there was the ‘gallery’ – a collection of any image Robyn was “happy at”. Again if you ever frequented the shop, you’ll know exactly what I mean. For a simple shop, it was quite something.

But that is not all – I have also played on one of Robyn’s EPs and I currently manage his website. Actually, even I’m not sure if my opinion should be trusted any more. But I pride myself on being honest, and that is what I intend to do now, even if it results in a headlock…
‘It is immediately apparent that Mr Shiels has upped his game, as they say.’ Was the first cuttingly incisive line I wrote when starting this review. But then I wondered if that line actually meant anything, so I thought it valuable to go back and listen to some of Robyn’s older releases. At least then I could draw a comparison between The Blood of the Innocents and his previous work. So I did and I realised something I hadn’t considered before; all of Robyn’s work is actually exceptional.

He is regularly touted as one of the countries finest songwriters and he truly is. The near unbelievable quality and consistency of his work should guarantee the man immediate and sustained success. But perhaps it is difficult to recognise the talent of those closest to us. It has been the case before that local audiences don’t truly appreciate what they have until someone else, someone outside, validates it. Robyn does OK, but OK doesn’t seem good enough.

As I listened to his music I realised that I kept stopping whatever else I was doing to just listen. It can be delicate and considered, it can be raw and savage, and it is always beautifully composed to match the tone laid out by Robyn’s voice and words. And it is that voice and those words that define a great singer/songwriter. And the heart. This is not empty sentiment. There is nothing facile here. This is a man staring into the dark and trying to make sense of the shapes.

Opening with Hello Death at the launch show for his long awaited new album is the perfect introduction to the tone and overarching theme of the music of Robyn G Shiels. Swapping the album tracks acoustic guitar for the sparse banjo of James Heaney, and leaving out the drums entirely, the focus is on Robyn’s voice. And what a voice he has. The room falls silent for the first time as his rich, mature and beautiful voice veers away from the intonations and inflections already familiar from regular spins of the new album, making the performance unique – an occurrence that is repeated throughout the night, elevating the show far beyond a simple album run through.

A full band backline sits teasingly present and hinting at what’s to come but Robyn and Mr Heaney continue into Two Nights in June, again allowing the voice to shine through. Musicians arrive and leave the stage over the next four songs, each adding their embellishments to the steadily growing sound. Having this almost musical collective approach can be risky, upsetting the flow of a set and never fully allowing anyone, band or audience, to settle in. However Robyn is lucky enough to be surrounded by a group of extremely talented players.

The flow of the set is never hindered as members quietly enter and exit. No one needs reminded that they are expected on stage, no one is in the bathroom as the song they are meant to be playing on waits for them. It speaks volumes for not just the professionalism of the musicians Robyn has been lucky enough to assemble, but for their familiarity with his songs, despite how infrequently they play as a group.

The set builds beautifully across 14 songs, starting intimate and gentle and growing into a beast. Which, if so inclined could be seen as an analogy for Robyn’s own career.

Existing for a long time as the perennial opening act, it is only in the last two or so years that Robyn has truly outgrown that. Tonight is a far cry from playing to a room full of his friends who only ever saw each other at his shows and subsequently spent the whole night talking.

He could never be accused of being a man who lacks confidence, but something still feels different. This is highlighted by two key moments, in the set. As he begins This Deathly Charm a loud conversation strikes up at the bar. Robyn simply stops and holds the note until the chatters notice the change: “Now, ye can’t talk over this one,” he tells them directly. “It’s for Hessie Brownlow, my Granny Brownlow, and my mother is over there.
“Mother, go over there and beat the fuck out of them.” And again the room falls silent.

And in the closing bar of the nights final song, In A Month of Sundays, pianist Clare Hutchinson plays through a line where Robyn expected a pause, but no words are exchanged, Robyn simply gives a small cough into the microphone, Clare adds the pause, Robyn begins his line and they play out the song. It might not seem like much, but it is a highlight of a spectacular gig. A truly great band can be judged on they recover from missteps exactly like this.

The Blood of the Innocents is a heavy album. It is raw and honest. The songs are about real life and real people. They clearly mean a lot to Robyn; it has taken over six years for this album to see a release date, and I know it has been an extended period of uncertainty for the songwriter. But he has never relented. It is a cliché that some people were born to sing, but I genuinely cannot imagine what would become of RG Shiels if he didn’t do this. It is how he makes sense of the world, it is how he deals with the lows, and it is what allows him the space to fully enjoy the highs. For as bleak as the music can appear, I find a kind of hope in it. I find a hope in the man himself.
But perhaps I am biased, after all he did once pay my wages. Oh and he bought me an acoustic guitar once, forgot about that. Yeah, you should probably just disregard everything I’ve just written. Well except for my wholehearted plea for you to buy The Blood of the Innocents; it is an exceptional record by a truly great artist. And perhaps one day, if he sells enough of them, he can pay me for updating his website…

[Blood, Sweat & Beers… from issue 248 of the Big List, written by Hornby]

The Blood of the Innocents is available now on vinyl and as a digital download.