Born and raised just a stone’s throw from York in Ripon, North Yorkshire, Isabella Sophie Tweddle – better known as Billie Marten – is an alternative singer-songwriter who first gained prominence at the age of twelve after a video of her singing a Lucy Rose cover gained thousands of views. Since then, Marten’s musical voyage has only gone from height to height. This weekend, Marten graced the stage of The Crescent in York, for the second night of her Drop Cherries tour. Supporting her was lo-fi folk musician Clara Mann.

By Ruby Brown

Over the last few months, Marten’s journey has been truly remarkable. Following the release of her fourth studio album, Drop Cherries, in the spring, she went on to embark on a North American tour, supporting Canadian indie-rock band, Half Moon Run, returning to the UK not long ago to kick start her tour on home soil.

Clara Mann kicked off the night’s performances in a room packed full of people, all perfectly hooked onto every word over the gorgeous strings and raw vocals that permeated the room. Despite The Crescent’s intimate setting and a capacity of 250 people, the stillness and mesmerisation during Mann’s set were remarkable – a testament, perhaps, to the immediate impression Mann had made on the audience.

Swiftly after Clara’s departure, Marten joined her accompanying band on the stage to an upbeat and energetic riff that lit up and enthralled the crowd within an instant. After introducing herself, Marten expressed her excitement about returning to the county where she grew up. Reminiscing on one of her earliest gigs in York, she shared the story of playing to a modest crowd of four at a popular city-centre pub, describing it as a somewhat miserable experience that she “loved every minute” of – an anecdote emblematic of Marten’s down to earth charm and humour that characterised the night thereafter. 

Just as she eased into the soft opening chords of Vanilla Baby, a call came from a member of the audience who quickly told Marten she could too play the song. Capturing the affectionate and welcoming essence cherished by Marten’s fans, she extended an invitation for her to join onstage and play the song. Together, blending acoustic and electric strings, they delivered a beautiful rendition of the track, enriched further by the unwavering support of the wider audience.

Marten’s setlist, an hour-long and a carefully curated blend of her songs from various points in her career, highlighted not only the singer’s vocal and instrumental versatility but also underscored the loyal, tightly-knit following she has cultivated over her almost ten-year career. From her earlier material, such as Mice and the much-loved La Lune, to the more recent releases of Willow and Nothing But Mine, the setlist served as a comprehensive opportunity to grasp the depth and evolution of Marten’s artistry, regardless of whether you were a long-time listener or a newcomer to her work.

Concluding the brief yet enchanting set with a two-song encore only served to amplify Marten’s artistic maturity, adding an extra layer of brilliance to the performance in the unassuming and intimate ambience of the venue. 

The standout feature of this Sunday night performance, however, was Marten’s ability to diversify her set, seamlessly transitioning between stripped-back solo performances and dynamic collaborations with her full band and Clara Mann. It was a captivating and varied show that surpassed my expectations and challenged any preconceptions held about what a Billie Marten gig might look and sound like.

Despite being a relatively new listener to Marten and having never experienced one of her live performances before, her infusion of humour, wit, and interactivity throughout the set created the impression that I witnessed her at her very best. The accompaniment of her incredibly talented band, coupled with her anecdotes about them, fostered a connection that transcended their mere on-stage presence, making the audience feel intimately acquainted with all artists involved. 

The night felt almost like a homecoming for Marten, a surprising yet profoundly meaningful experience given my recent introduction to her work. Amidst the warmth of her performance and the genuine connection she forged with the audience, it became evident that her music possesses an innate ability to make each listener feel entirely at home. What more could you ask for?

You can catch Billie Marten as she wraps up her UK tour on Friday, December 8th, at Koko in London.

Clara Mann and Billie Marten played at The Crescent Community Venue, York on Sunday 3 December 2023.