microphone stands. Waiting, waiting, and now we were all breathing in unison, like one great hungry creature, like lemmings drawn to a cliff edge by something they couldn't name.
Rossignol's band came running onto the stage, smiling and waving, and the crowd went wild, waving and cheering and stamping their feet. The band took up the instruments waiting for them and started playing. No introductions, no warm-up, just straight in. Ian Auger, the cheerful hunchbacked roadie, played the drums. And the bass and the piano. There were three of him. I felt he might have mentioned it earlier. Next a quartet of backing singers came bounding onstage, wearing old-fashioned can-can outfits, with teased high hairstyles, beautiful and glamorous, with bright red lips and flashing eyes. They joined right in, belting out perfect harmonies to complement the music, stamping their feet and flashing their frills, singing up a storm. And then Rossignol came on, and the massed baying of the crowd briefly drowned out the music. She wore a chic little black number, with long black evening gloves that made her pale skin look even more funereal. Her mouth was dark, and so were her eyes, so that she seemed like some old black-and-white photograph. Her feet were bare, the toenails painted midnight black.
She grabbed hold of the mike stand at the front of the stage with both hands and clung to it like it was the only thing holding her up. As the show progressed, she rarely let go of it, except to light a new cigarette. She stood where she was, her mouth pressed close to the mike like a lover, swaying from side to side. She had a cigarette in one corner of her dark mouth when she came on, and she chain-smoked in between and sometimes during her songs.
The songs she sang were all her own material; "Blessed Losers," "All the Pretty People," and "Black Roses." They had good strong tunes, played well and sung with professional class, but none of that mattered. It was her voice, her glorious suffering voice that cut at the audience like a knife. She sang of lost loves and last chances, of small lives in small rooms, of dreams betrayed and corrupted, and she sang it all with utter conviction, singing like she'd been there, like she'd known all the pain there ever was, all the darknesses of the human heart, of hope valued all the more because she knew it wasn't real, that it wouldn't help; and all the loss and heartbreak there ever was filled her voice and gave it dominion over all who heard it.
There were tears on many faces, including my own. Rossignol had got to me, too. I'd never heard, never felt, anything like her songs, her voice. In the Nightside it's always three o'clock in the morning, the long dark hour of the soul - but only Rossignol could put it into words.
And yet, despite all I was feeling, or was being made to feel, I never entirely lost control. Perhaps because I'm more used than most to the dark, or simply because I had a job to do. I tore my eyes away from Rossignol, reached inside my jacket pocket, and pulled out a miller medallion. It was designed to glow brightly in the presence of magical influence, but when I held it up to face Rossignol, there wasn't even a glimmer of a glow. So Rossignol hadn't been enchanted or possessed or even magically enhanced.
Whatever she was doing, it came straight from her, and from her voice.
The audience was utterly engrossed, still and rapt and silent, drinking their diva in with eyes and ears, immersing themselves in emotions so sharp and melancholy and compelling that they were helpless to do anything but stand there and soak it up. It was all they could do to come out of it to applaud her in between songs. The three Ian Augers and the quartet of backing singers were looking tired and drawn, faces wet with sweat as they struggled to keep up with Rossignol, but the crowd only had eyes for her. She hung on to her microphone stand as though it was a lifeline, smoking one cigarette after another,
Rossignol's band came running onto the stage, smiling and waving, and the crowd went wild, waving and cheering and stamping their feet. The band took up the instruments waiting for them and started playing. No introductions, no warm-up, just straight in. Ian Auger, the cheerful hunchbacked roadie, played the drums. And the bass and the piano. There were three of him. I felt he might have mentioned it earlier. Next a quartet of backing singers came bounding onstage, wearing old-fashioned can-can outfits, with teased high hairstyles, beautiful and glamorous, with bright red lips and flashing eyes. They joined right in, belting out perfect harmonies to complement the music, stamping their feet and flashing their frills, singing up a storm. And then Rossignol came on, and the massed baying of the crowd briefly drowned out the music. She wore a chic little black number, with long black evening gloves that made her pale skin look even more funereal. Her mouth was dark, and so were her eyes, so that she seemed like some old black-and-white photograph. Her feet were bare, the toenails painted midnight black.
She grabbed hold of the mike stand at the front of the stage with both hands and clung to it like it was the only thing holding her up. As the show progressed, she rarely let go of it, except to light a new cigarette. She stood where she was, her mouth pressed close to the mike like a lover, swaying from side to side. She had a cigarette in one corner of her dark mouth when she came on, and she chain-smoked in between and sometimes during her songs.
The songs she sang were all her own material; "Blessed Losers," "All the Pretty People," and "Black Roses." They had good strong tunes, played well and sung with professional class, but none of that mattered. It was her voice, her glorious suffering voice that cut at the audience like a knife. She sang of lost loves and last chances, of small lives in small rooms, of dreams betrayed and corrupted, and she sang it all with utter conviction, singing like she'd been there, like she'd known all the pain there ever was, all the darknesses of the human heart, of hope valued all the more because she knew it wasn't real, that it wouldn't help; and all the loss and heartbreak there ever was filled her voice and gave it dominion over all who heard it.
There were tears on many faces, including my own. Rossignol had got to me, too. I'd never heard, never felt, anything like her songs, her voice. In the Nightside it's always three o'clock in the morning, the long dark hour of the soul - but only Rossignol could put it into words.
And yet, despite all I was feeling, or was being made to feel, I never entirely lost control. Perhaps because I'm more used than most to the dark, or simply because I had a job to do. I tore my eyes away from Rossignol, reached inside my jacket pocket, and pulled out a miller medallion. It was designed to glow brightly in the presence of magical influence, but when I held it up to face Rossignol, there wasn't even a glimmer of a glow. So Rossignol hadn't been enchanted or possessed or even magically enhanced.
Whatever she was doing, it came straight from her, and from her voice.
The audience was utterly engrossed, still and rapt and silent, drinking their diva in with eyes and ears, immersing themselves in emotions so sharp and melancholy and compelling that they were helpless to do anything but stand there and soak it up. It was all they could do to come out of it to applaud her in between songs. The three Ian Augers and the quartet of backing singers were looking tired and drawn, faces wet with sweat as they struggled to keep up with Rossignol, but the crowd only had eyes for her. She hung on to her microphone stand as though it was a lifeline, smoking one cigarette after another,
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