Cool as Folk: David Thomas Broughton

Of all the alternative music nights that have sprung up since last year's refurbishment of The Raynor Lounge, one of the most original and promising has been Cool as Folk. With two or three live acts and its own uniquely charming atmosphere and décor, it's not hard to see why this has become one of the most popular nights in the Union's smallest venue. It's nearly Valentine's day, so the expected slapdash cross on the hand is replaced by a carefully drawn heart and we're treated to the usual selection of sweets, fairy lights and flowers.

First on tonight's line-up is local student Nicholas Shaw, a.k.a. St. Nicholas, who shyly takes to the stage with what looks like a toy guitar from which he struggles to get a convincing sound all night. Unfortunately nerves seem to get the better of him and the performance falls well below the high standards expected at Cool as Folk. Playing a set of endearing cover versions from the likes of Postal Service and Sufjan Stevens, he showcases a sweet, gentle voice. There is definitely potential there but you can't escape the want to hear more of his own material.

Birmingham based indie band Shady Bard are next on tonight's agenda, cramming a plethora of instruments on to the modest stage. Interestingly enough, there is a distinct lack of folk in their half hour set of delightfully well constructed songs. With a sound encompassing the influences of British indie bands like Snow Patrol and the post-rock elegance of Mogwai, Shady Bard provide a confident contrast to St. Nicholas' nerves. Recent single 'Penguins' is the highlight of a performance that is just loud enough to be heard above the noise of a rapidly filling Raynor Lounge. Swapping instruments for the final time, they bring this engrossing part of the evening to a satisfying close.

By the time David Thomas Broughton arrives on stage the charming atmosphere has been replaced with an uncomfortable level of background chatter. Looking obviously phased, he begins what would prove to be a difficult set for the experienced Manchester based musician. Utilising a range of unconventional non-musical instruments alongside acoustic and electric guitars, he constructs a series of dark, intricate arrangements that struggle to be heard. Broughton adds an individual twist to his tortured hymns through the layering of loops and samples recorded on the fly, at one point even leaving the stage and allowing the song to continue. His haunting vocals, recalling those of Antony Hegarty (of the Johnsons), are used as in instrument themselves, adding further texture and depth to his sonic palette. Moving between songs without pause or word to the audience, Broughton is not the traditional showman, yet never fails to be captivating and exciting to watch, his talent being obvious despite the difficult situation.

The prospect of Cool as Folk is certainly an attractive one – quality live acts and good music in a laid back atmosphere – but the reality is somewhat disappointing. Tonight Shady Bard were only loud enough once extra speakers had been turned on and Broughton's delicate compositions were almost overshadowed by the noisy audience. There seems to be a conflict of interest between those wanting to watch the acts and those who aren't interested, creating undeniable tension and an air of resentment between the two parties. Although not particularly the fault of the organisers, the clientèle seem at odds as to what Cool as Folk is about, leading to a potentially unsatisfying experience for all involved.