13 February 2012


Hide & Seek presents...


After her stunning performance last year, Anaïs Mitchell returns to the Brudenell Social on Sunday 3rd June (which luckily for us is followed by a bank holiday thanks to the Queen’s Jubilee celebrations). Anaïs returns this time with a full band and another hugely acclaimed album in Young Man in America.

In 2010 Righteous Babe Records released the recorded version of her folk opera Hadestown, a modern retelling of the Orpheus myth, featuring guest singers Justin Vernon (Bon Iver), Ani Difranco and Greg Brown. The album became something of a critical phenomenon in the UK, making ‘Best of 2010′ lists in the Guardian, Sunday Times and Observer, thanks in part to the skillful production of Todd Sickafoose, who also produced and arranged Young Man.

Young Man is not an opera, but it is a story: a sprawling tale with multiple protagonists. And while Mitchell delivers the lead vocals herself this time around, she’s joined by a tribe of musicians that make the album feel like a collective ritual. Sickafoose assembled some of Brooklyn’s most sought-after rock and experimental jazz players: guitarist Adam Levy and violinist Jenny Scheinman, to name a couple. Chris Thile shows up on mandolin as well as alongside songwriters Jefferson Hamer and Rachel Ries in a harmonic chorus. Michael Chorney, the man behind Hadestown’s remarkable score and the producer of Mitchell’s two previous albums (2007′s The Brightness and 2004′s Hymns for the Exiled) makes a guest appearance on guitar. And in a departure from those early recordings, Young Man features not one but two stick-wielding drummer/percussionists—Andrew Borger and Kenny Wollesen—that give the album some of its swagger.

If there’s a common thread in Mitchell’s work—from her earliest ballads, to the opera, to this new chapter—it’s that she’s as interested in the world around her as the one inside her. She has a way of tackling big themes with the same emotional intimacy most artists use to describe their inner lives. ‘That’s why,’ as one journalist put it, ‘there’s a sexual ambiguity about her work and why, even in her most intimate moments, she never sounds like a confessional songwriter.’ It doesn’t matter whether the stories she tells are her own or someone else’s. ‘The emotions are my own,’ says Mitchell.

Sunday Times – “This is music or rare boldness and reach. A sensational album”  Record of the Week

Uncut – “A remarkable, genre-defying album” - 4 Stars

Guardian – “Mitchell has done herself proud” -  4 stars

The Observer –  “A brilliant, highly original album” -  4 Stars

The Independent – “Marvellous” - 5 Stars

BBC Review – “A marvel of a record from start to finish.” - 9/10

DrownedinSound – “Mitchell delivers a more traditional collection of singer-songwriter tracks, and does so without any marked drop in quality from its incredible predecessor.”  - 8/10

Supports to be confirmed

Tickets are £10 advance and available from:
and the Brudenell Bar.