Isaac Gracie at The Deaf Institute, Manchester, review: His voice earns rightful comparisons with some of the folk-rock greats

As beginnings to rock star narratives go, Gracie’s has been the stuff of dreams

The 23-year-old singer is a modest and unassuming soul (Getty)

“If my voice breaks during the evening, please roll with me and my breaking voice,” Isaac Gracie tells a sold-out audience at Manchester’s Deaf Institute on Wednesday evening. “I promise to plough on and just make a mess of myself.”

Apologising again moments later for taking too long to tune his guitar, it becomes apparent that the 23-year-old singer is a modest and unassuming soul. He doesn’t take too long to tune his guitar, nor does his voice falter on a single occasion. Such was the power of his formidable voice that anyone who dared to speak mid-song was quickly shushed by rapt audience members clinging to every note.

As beginnings to rock star narratives go, Gracie’s has been the stuff of dreams. After recording a bunch of demos in his bedroom two years ago and uploading them to SoundCloud, the young artist from Ealing soon found himself in the midst of an unexpected hype-tempest. With early comparisons to Jeff Buckley, Leonard Cohen and Nick Cave, he attracted the attention of manifold fans and major industry bosses alike.

One of the biggest, Sir Lucian Grainge – head of Universal Music – flew into London shortly after the demos appeared to see Gracie perform at The Lexington in London: he was then quickly signed to Universal’s Virgin EMI arm. Fast-forward two years and a couple of EPs later, Gracie is now on his own tour with his own band for the first time and his anticipated debut album launches later this year. Previewing “Running on Empty” from his new album mid-gig, it’s evident Gracie has come a long way.

Gracie’s voice earns rightful comparisons with some of the greats in folk-rock history. “The Death of You and I” begins as a vintage sounding Buckley-style ballad before suddenly exploding into Nick Cave’s punk rage as he laments the end of a close relationship.

It was on tracks played from his EP Songs From My Bedroom – “All the Burning Lovers”, “Reverie” and “Last Words” – where Gracie’s voice was at its most exposed and emotive as he effortlessly conveyed passionate highs and despairing lows.

The control of his voice was exquisite but perhaps not unsurprising for someone who trained at the Ealing Abbey Choir. Combined with his poetic and carefully crafted lyrics, it made for a powerful combination; Gracie was often at his strongest when his songs were stripped back and simple.

“I think I’ve slightly outgrown this,” he says of his very tight, rose-patterned vintage shirt which exposed his chest, “I’m only just realising this now, I’m sorry.”

Standing still centre stage, he cuts a serious figure during performance, but one who, endearingly, is ready to amuse and apologise in equal measure between songs. Gracie has both huge talent and humility in abundance and as folk-rock history has taught us, it’s often that particular combination which has characterised the most beloved of artists.