{"id":16226,"date":"2026-10-13T11:31:45","date_gmt":"2026-10-13T11:31:45","guid":{"rendered":"https:\/\/culturalleft.org\/cl\/2026\/10\/13\/beth-orton-review-battered-optimism-from-an-artist-making-the-best-music-of-her-career-culture-the-guardian\/"},"modified":"2026-10-13T11:31:45","modified_gmt":"2026-10-13T11:31:45","slug":"beth-orton-review-battered-optimism-from-an-artist-making-the-best-music-of-her-career-culture-the-guardian","status":"publish","type":"post","link":"https:\/\/culturalleft.org\/cl\/2026\/10\/13\/beth-orton-review-battered-optimism-from-an-artist-making-the-best-music-of-her-career-culture-the-guardian\/","title":{"rendered":"Beth Orton review \u2013 battered optimism from an artist making the best music of her career Culture | The Guardian"},"content":{"rendered":"<p><strong>Concorde 2, Brighton<\/strong><br \/>Drawing almost entirely from her last two albums, and backed by a band rooted in jazz and experimentation, Orton performed her emotionally fraught songs to a rapturous crowd<\/p>\n<p>The audience at Brighton\u2019s Concorde 2 largely look old enough to have first encountered Beth Orton\u2019s music three decades ago, as it wafted around a smoke-filled living room in the post-club small hours. That was the primary means of transmission for her 1996 debut album Trailer Park, which smartly appended classic singer-songwriter tropes to misty electronics. But if they\u2019re expecting an evening of nostalgia, they\u2019re in for a shock. The title track from 1999\u2019s Mercury-nominated Central Reservation aside, her set swerves the music that made her famous, drawing almost entirely from her two most recent albums: this year\u2019s The Ground Above and 2022\u2019s Weather Alive.<\/p>\n<p>This would count as a bold move from someone 30-odd years into their career, were it not for the fact that Orton\u2019s recent albums are so good \u2013 the latest fruit of an artistic reboot that began in the mid-2010s, when she shifted a sound that had grown increasingly acoustic and traditional back towards something more experimental and dancefloor-adjacent.<\/p>\n<p> <a href=\"https:\/\/www.theguardian.com\/music\/2026\/oct\/13\/beth-orton-review-brighton-concorde-2\">Continue reading&#8230;<\/a>\u00a0<\/p>\n<p><a href=\"https:\/\/www.theguardian.com\/music\/2026\/oct\/13\/beth-orton-review-brighton-concorde-2\" target=\"_blank\" class=\"feedzy-rss-link-icon\">Read More<\/a><img decoding=\"async\" src=\"https:\/\/i.guim.co.uk\/img\/media\/c87646ca38fc1e8fdcb167cf8607905a343970f3\/0_0_4672_3737\/master\/4672.jpg?width=140&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=1508c2200d092b064fba0bcbec507cde\" title=\"Beth Orton review \u2013 battered optimism from an artist making the best music of her career\" \/><\/p>","protected":false},"excerpt":{"rendered":"<p>Concorde 2, BrightonDrawing almost entirely from her last two albums, and backed by a band rooted in jazz and experimentation, Orton performed her emotionally fraught songs to a rapturous crowd The audience at Brighton\u2019s Concorde 2 largely look old enough to have first encountered Beth Orton\u2019s music three decades ago, as it wafted around a&#46;&#46;&#46;<\/p>\n","protected":false},"author":1,"featured_media":16227,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-16226","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - 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