Gemma Hayes

I don’t know if it’s because I look about twelve, but the woman on the door at 93 Feet East seems determined not to let me in, even before I explain that my name should be on the guest list. It’s definitely a ‘your name’s not down ,you’re not coming in' moment, when she can’t find my name(she doesn’t actually say it out loud but I can see she aches to), so I go out into the streets of london to find help. I return, help in tow, and my name has miraculously appeared, and the woman is suddenly all matey. Ah, I love it when I am right.

Gemma Hayes stands on stage, cocooned by her band and a guitar which looks way too big for her. Many singers come undone when it comes to performing live, their voices not being able to with stand the pressure of no producer to nip and tuck their squawks and moans. But Hayes looks the audience in the eye with a self assurance that is neither arrogant or unjust, as her voice pours over the onlookers like honey.

Hayes demonstrates her two sides this evening. She begins a song with a beautiful melody and a sincerity that is almost child like, but then the same song spirals into crunchy guitar noise, with Hayes riding the transitional wave with a glowing smile on her face.

But it is the quieter songs that really let her talent shimmer and shine. The beautiful and folky 'Evensong' and 'Stop the wheel', prove that she is an accomplshed lyricist and her vocals don’t have to share too much sound space, which is good for us, the audience.

Aside from the very annoying people stood by the bar talking loudly (Damn them!), the only bad thing about this gig was the fact that it was all over so quickly. But I’m guessing that it was just a ploy to leave us wanting more, and it worked.