Liverpool Sound and Vision Rating * * * *

In recent years Norway has given so much to Liverpool’s present musical heritage that it is almost becoming a true tradition to be able to walk into any venue in the wider city and hear the flowing tones of the Nordic ability for storytelling transformed into epic song played, and fully appreciated.

It is the long standing convention that people of Scandinavia have their culture and their physical geography to thank for that, like Britain, of Europe but not immersed fully into the characteristics of their land locked neighbours further south or the mysterious tales that come from Mediterranean culture. With the addition of Jenny Strand to that heritage, the future has yet more reason to be hopeful.

Surrounded by quality musicianship provided by Audun Mathias Laading, Simen Juul-Hansen and the compelling keyboard playing of Kate Hazeldine, a woman who is no stranger to the music audience in Liverpool and who always seems to play with distinction no matter the situation, Jenny Strand added yet another string the burgeoning Nordic Empire that has made many friends in the city over recent years.

Ms. Strand gives the type of stage performance in which is to feel absorbed by, to almost believe as though a spell is being cast upon you; the feeling of contentment is to wallow in the actions and the words. There is a point where the flowing nature of the physical action, the small hand gestures which accompanies the music is to understand that this talented vocalist and song writer is almost urging, willing the words to come out, she is projecting in a way that is sincere and fruitful.

The songs, which included This Time, What’s To Come?, the persuasive heartfelt plea of Treat Me Like A Human, and its possible response in the following number, Vunerable, and the acknowledgement that resounds in Superheroes, all added to the spectacle that unfolded before the Studio 2 crowd.

Whilst not the finished article, a good thing in all respects, for who is ever the truly polished article when so much can be fully achieved, there is so much dwelling inside Jenny Strand, so much that is going to come out and with fortune on her side, will no doubt have audiences entranced for years to come.

To acknowledge perceived future pleasure is to join folly in a guise perhaps unfounded and yet as Jenny Strand left the stage, it was not beyond the realms of possibility to know just how good the next gig she performs in will be.

Ian D. Hall