Βι¶ΉΤΌΕΔ

The gusty, rainy and downright miserable weather tonight could be said to be appropriate, given that this is Owen Ashworth's last ever Irish date, as Casiotone for the Painfully Alone. However the night has more than a few heart-warming surprises in store, as the modest, but attentive crowd gather in the glowing candlelit intimacy upstairs in Auntie Annie's.

Opening act, the ever-delectable John D'Arcy, kicks things off with his usual charm, with a set comprised of favourites such as the melodious 'More Like Me' and new single 'Get Over Yourself'.

Derry-based 4 piece The Wonder Villains take to the stage next and immediately captivate all present, not only with their sheer energy and enthusiasm, but also with their tight collection of exuberant and infectious electro pop-rock gems including, 'Oh Peter' and 'SpaceJam', which are both lovingly inspired by cheesy movies and TV characters. This is one band you need to keep an eye on.

Unassumingly making his way to the stage once it was cleared, and emptying the contents of two huge cases full of electronic equipment onto two sizeable tables, Ashworth begins the lengthy process of setting up his myriad of machines, amps, keyboards and pre-programmed drum machines. He then introduces himself, almost apologetically, and opens with the melancholy 'Roberta C' from 2003's Twinkle Echo.

You'd be forgiven for thinking that a guy stood behind two tables of electronic equipment, programming and playing keyboards and plugging and unplugging an overwhelming plethora of wires and leads doesn't command much stage presence; but the honest unshowiness of Ashworth and the effective lo-fi, restraint of his compositions is compelling in itself. With over thirteen years worth of tracks behind him, Ashworth does an admirable job of representing his back catalogue. 'Young Shields', 'Man O' War', 'Bobby Malone', 'Hey Eleanor' and the marvellously titled 'Travelling Salesman's Young Wife Βι¶ΉΤΌΕΔ Alone On Christmas In Montpelier', 'VT' are all warmly received.

The air hung heavy with reverberating chord sequences from cheap keyboards, harshly produced beats, fuzzily intricate melodies built around strangely sad little narratives more akin to short stories than pop songs, with that resonating graininess CFTPA is famed for.

Recently Ashworth toured with a band, but not so for his farewell tour. This is a back to basics, vintage CFTPA. Aside from a polite 'thanks' after each track, the only other interactions with the audience are when he jokingly asks if anyone has any questions. A number of people ask why he's resigning the moniker, giving Ashworth the opportunity to explain why he needs a fresh start and a clean slate. Towards the end of the night, he opens the floor for requests, performing 'New Year's Kiss' and his cover of Springsteen's 'Streets of Philadelphia', along with a number of early tracks from the first two albums.

Typical of his dry humour, he brings the evening to a close with 'Tonight was a Disaster'. This is as far from the truth as you can get. The night was a quietly wonderful experience that will be treasured by all present as they wait on Ashworth's next musical incarnation with baited breath.

James Gracey