Going to see and hear Willie Dowling & The Invisible Band playing London's West Hampstead Arts Club this evening, was a real treat. For this close up performance from Dowling, his first of his three full-length UK headline shows, this venue was perfect, with a cool cabaret type bar, selling independent beer, cocktails (which I didn’t drink - I was working) and above all, an intimate basement. Add to that as well, great lighting, a good small stage, a brilliant sound engineer in Tamara Sterle, plus a cabaret type atmosphere. The crowd were a real mix too, with loads of 20 and 30 year old somethings amid the more supposedly mature, hailing from as far afield as California, France, Bristol and of course London. Although, Willie's social and personal observations certainly seemed to resonate with them all!

Musically, Dowling describes himself as Billy Joel meets Billy Bragg, but he's much more than that. A talented performer and raconteur, his Bowie-esque comparisons and influences showed throughout, via his vocal tonality and compositions. Arresting in his black on white suit and t-shirt, his set was super thoughtful and grandly curated throughout, as we witnessed a rich keyboard laden smorgasbord of sound from this musical circus leader.

Willie was of course backed up tonight by his excellent Invisible Band, comprising his long time bestie Andy Lewis on Jazz Fender bass and deep backing vocals, plus new addition Darren Lee on drums. I found Andy compelling to watch, not only because of his tall physicality, but also at times his intense stance, combining both good underplay as counterpoint, as well as pouncing on cue with his tender, deft fretwork. While Darren seemed to have a ball, smiling away at the back, skilfully bashing on beat, immediately attuned to this on the money trio.

This time last year, Dowling released his latest critically acclaimed album 'The Simpleton'. Very appropriately, his opener tonight was the first track off the album, the compelling 'Let Us Begin' that immediately drew me in, as keyboards met grand theatric Opera. Indeed, Dowling’s mellifluous orchestral keyboard sound overarched and ebbed and flowed throughout.

Every song on the album had an accompanying story, and the narrative was rich, influenced by philosophy, such as American historian and philosopher Hannah Arendt (for the academics amongst you) and the zeitgeist. 'The Gravy Train', 'Rats in a Maze' (his upcoming brand new single, a taster of what's to come) and 'Frobisher’s Last Stand', all reflected modern social and personal mores, as well as the even more personal, such as seeing his mother deteriorate in hospital (which also resonated with me) before touchingly introducing 'The Cure'. The two big hitters were his engrossing latest single 'Sadie Goldman' and the album title track, of which its lyrical sentiment, I simply could not argue with!

Talking of which, love, loss and heartbreak was also covered in the angry up tempo 'Fuck you Goodbye', of British Eclecto Pop masters The Dowling Poole fame, minus tonight of course, former Lifesigns/Dr Hook bassist Jon, that the audience thoroughly enjoyed. Indeed, Dowling is an intelligent, driven composer and performer, and tonight I really enjoyed being surrounded by his complex, melodic uber independent, keyboard driven sound and oratory.

If you're in Manchester this coming Sunday, make sure you check the band out at The Copper Bar, otherwise the next best thing is to buy his amazing album. Until the next time Willie Dowling!

Review, Photos & Video: Denise Lester