Lanky Rae, a slender gangrel, wicked and base with a flagrant disregard for life and law. She’s the eponymous demon child portrayed in tonight’s opening track and her spirit seems entirely inhabited by vocalist Uta Plotkin, who croons with an impudence perfect for the role. A sharp stomp that oozes character and style, ‘The Ballad Of Lanky Rae’ is Witch Mountain at their brazen best.
The restrictive boundaries of Manchester’s Sound Control inhibit much on-stage movement. But it does nothing to deter the crowd, which sways as guitarist Rob Wrong’s sordid guitar tone begins ‘Beekeeper’.
The extent of Plotkin’s absurd vocal range is showcased throughout fan favourite ‘Veil Of The Forgotten’. Simultaneously majestic and threatening, from behind her dark mane she croaks, growls, coos and howls before unleashing the shrieks that lead the song through its stormy second half. The song is a deft mix of distortion, dissonance and doom and is held together perfectly by Nate Carson’s tight and powerful percussion.
Witch Mountain are at their finest when they exercise massive dynamic shifts. Punctuating subdued, vulnerable verses with explosive choral refrains, the post-apocalyptic canticle ‘Shelter’ showcases some of the band’s finest songwriting to date. It proves a live highlight, and is as compelling on stage as it is on record.
New track ‘Bloodhound’ demonstrates how the band is constantly in development, introducing new aspects and sounds to its expanding repertoire. Sadly, Plotkin doesn’t play viola tonight, but the song’s eerie viola intro tape is welcomed by the crowd.
The undisputed highlight of the show is ‘Never Know’. It’s quiet and understated, anchored by Neal Munson’s bass and decorated by Wrong’s sparse licks. Carson’s increasing 
involvement on the drums is subtle. It creeps up on the crowd, helping to build the song’s deliberate and moody atmosphere before it erupts into its second half. Plotkin excels throughout. She whispers and sings with all the swagger and sass of the jazz divas of old. Then she lets loose again, calling out with a might that sends shivers through the audience. The huge jolt awakens everyone, on stage and off.
Plotkin thanks the crowd after the band close with ‘Wing of the Lord’, the opening track to South Of Salem.
Witch Mountain delivered a strong set but it was vocalist Uta Plotkin who proved the star attraction. Freely switching between ballsy, sultry and plaintive with frightening efficiency, her inimitable performance was a delight to behold.
Though the band played atop a humble stage set on pallets, and was barely elevated above the crowd, they delivered a powerhouse performance that lifted the entire venue. It’s clear they might benefit from a larger stage and a more engaged audience, but those that paid attention will know that Witch Mountain are one of the finest live doom metal acts playing today.
Sean McGeady (words)
Patrick Philips (pictures)