I’ve never seen a queue at Leeds University Stylus quite as long as the one that snaked around the area directly below the famous refectory. This was, though, the first time that fans had the chance to see Wasia Project in Leeds, and there was a lot of excitement up and down the queue. It was a young crowd, ranging from some early teens who had brought a parent along to sit at the back, to students who probably hadn’t travelled that far from their accommodation.
Wasia Project have been away from the UK for a minute, as Will Gao – seated at the piano – points out early in the show. Much of their touring has been confined to the US and Europe, with just the occasional UK festival date in the summer. So it’s understandable that there is a buzz around this opening night of “The Isotope” UK Tour.
The room was already full by the time the excellent support act – London based singer-songwriter Hohnen Ford – took the stage. In a beautiful, exposed set, she sat centre-stage with just a piano for company, and captivated an appreciative audience with her jazz influenced pop. Introspective lyrics and an atmospheric vocal performance won over many new fans during her 30 minute set.
Wasia Project is a polished outfit, as their assured entrance to the stage testifies. Striding on first is the rhythm section of Luca Wade (drums) and Tom Pacitti (bass), sharply attired and quietly taking their place at the rear of the set. Then from stage right, Olivia Hardy and Will Gao slowly march on to the stage, taking their positions to screams from the expectant crowd.
It’s one of those shows where you can feel the strong connection between the band and audience before a chord has been struck. The music is a fusion of pop, jazz, classical – a real mix of styles, brought together in an accomplished manner, creating songs that have captivated this generation.
Burning Eyes R Calling leans right into the jazz end of their spectrum, Gao producing a piano solo which seemed to recall Fly Me To The Moon for a second. In the middle of the set, the siblings are left to share the stage alone, running through 4 songs accompanied only by piano.
Remember When draws a pin-drop silence from the audience, who hang on every exquisitely delivered chord and lyric. In fact, there’s a lovely innocence about the night. Many are below the drinking age, even smoking age, as the usually hazy area outside is deserted. A student union venue probably feels quite alien to them.
But they are here for one reason only. There’s a lovely naive reverence that the audience bestow upon the band; it’s not something they demand or expect, indeed there’s a real humility about them.
Once the band have returned, they give us a beautiful cover of Sade’s 1984 classic Smooth Operator. It’s a classic, cool rendition until jazzy keys take over and the audience keep the melody and counterpoint going, conducted expertly by Hardy.
Gao is best when he breaks into these jazzy interludes in the middle of several songs and shows his virtuosity. Take Misfit Biscuit (on which he also takes lead vocal) as an example. Fun, lighthearted instrumentation juxtapose the seriousness, even darkness of the lyrics.
The atmosphere is maintained right through to the closers Somebody Come Through and Impossible. It was a night of great music and genuine connection. The band’s seamless blend of pop, jazz, and classical influences struck a chord with a respectful audience that hung on every note and lyric. It’s been a very wholesome evening all round.
