Alison Green at The Cavern, Liverpool. Iternational Pop Overthrow 2016. Photograph by Ian D. Hall.
Liverpool Sound and Vision Rating 9/10
Cut through the noise, reduce everything around you to a state of near silence, not so much pin dropping but that rare beat in which nobody breathes, nobody exhales or makes the slightest murmur at the exact same time, hack away at everything that detracts the senses and leave the bloodied corpses of indifference laying in their own pool of unreasonable understanding; for when Alison Green travels to the International Pop Overthrow, the event is one to savour for all its worth.
Marking her third appearance in a row at the International Pop Overthrow, Alison Green’s early evening slot on the third day was one that given all the due and credit she deserves, should stand out in the memory for such a long time. The rarity of finding a musician who can play with utter and blinding sincerity, be so modest that the faint whisper of the demure is like a series of nuclear explosions going off and capture the art of folk and twin it with the joy of the story of the Progressive is to be savoured at all costs and Alison Green has it all.
The sound of the weekend starting early, the machine like pop of excited chatter and clatter of humanity’s departure from the offices and company of the 9 to 5’s were always going to be urgent, always going to be a competing force in amongst the music put on offer by the team behind the incredible 14th year of the I.P.O., it was always up to the artist to overcome it and as the evening chased after the slow setting May sun, Alison Green proved her dynamic once more to a Liverpool crowd.
Canterbury’s finest, the scholarly and the place where Chaucer left food for thought in the minds of those brave enough to tackle The Wife of Bath, all look to Ms. Green to pave the way from one end of the country to the other, not so much a tale, more of an epic encounter. It is in this yearly encounter with the Cavern stage that Ms. Green played songs such as Can’t Quit You, Leaving Town, Stripe, the excellent Technically Alive, King’s Lynn Blues and the cool seduction of Shame with groove, style and more class than can be found in a Parisian walkway.
Cut through the noise and drought, sever yourself away from the chatter that surrounds you and take in the seduction, the realism on offer by one of the most outstanding young musicians around, Alison Green deserves the honest time you have.
Ian D. Hall