The Hidden Cameras – St. Leonard's Church, London 18/03/10

It’s not often that you attend an indie gig compered by a transvestite, but then again, it’s not often you encounter a band like The Hidden Cameras. A fund raiser for the Albert Kennedy Trust, who provide shelter and assistance to LGBT teenagers rejected by their families, it’s the second time the self-proclaimed “gay church folksters” have played St. Leonards. But those expecting a re-run of the light-hearted, unabashedly camp fun of 2008′s show would be in for a shock- tonight is a whole different kettle of fish.

Last time round, the Canadians had persuaded the whole audience to stand up before a note had been struck. Balaclava-clad dancers gyrated on the altar in a most ungodly manner and the whole thing was a riot of hand-clapping, celebratory joy. But this show is a much more serious affair, Joel Gibb looking dapper with his dark suit and his designer stubble, every person remaining resolutely seated throughout. It’s a special “orchestral-acoustic” set, employing an ensemble that, at its peak numbers nineteen musicians, and as a result it’s clear the band felt a little sophistication was in order. It’s an fantastic set-up that yields captivating results, even if Gibb’s powerful, whisky-rich timbre threatens at first to overwhelm everything else. The string arrangements are well thought through, the brass section punchy if rough round the edges and Jamie McCarthy’s enthusiastic fiddle playing, always a highlight of their shows, remains undiminished in this semi-formal setting, particularly on “Awoo.”

A rousing success, it’s always heartening to see a band try something different (especially on behalf of such a worthy cause), and although I wouldn’t necessarily swap the jollity of old for their more cultured incarnation, the Hidden Cameras certainly provided one of the more memorable gig experiences of 2010 so far.