Music
Imogen Heap @ Shepherd's Bush Empire
Published Thursday, Apr 20 2006, 23:53 BST | By Miriam Zendle
Clearly, selling out venues in London and other big cities is much easier than impressing the provincials, but if Imogen Heap's sold out gig at the Shepherd's Bush Empire is anything to go by, she's certainly on the right track.
To begin with, things weren't going so well. Heap's main support act, cello player Zoe Keating, was wholly disappointing. Keating's USP (unique selling point) is that she layers the sound of her cello by recording different strands over and over again - thus creating layered melodies only using her cello.
This is similar to Heap's own work, but unfortunately for Keating, merely sounds slow, boring and rather sends the listener to sleep, probably because there are no vocals to detract attention or to speed her work along. The sheer volume of noise from the back of the room during her set was a clear indication of this.
Thankfully, Heap herself is electrifying, both thanks to her voice's huge range, as well as the sheer variety of peculiar instruments she utilises in her performance. Her appearance on stage was muted, although her tall, statuesque presence, along with a fantastic red outfit, brought the attention swiftly back to her. Like far too many other performers, it is difficult to understand much of what Heap says between songs - she can seemingly manage to silence a room during her songs, but is unable to put the same power and confidence into the interludes.
The power of her voice came through with great clarity during songs like Just For Now, where Heap shows that she needs no one but herself to create gorgeous melodies and stunning layered vocals, as well as the gorgeously entrancing Come Here Boy, which first appeared in little-known (and shameful favourite of mine) '90s film Virtual Sexuality. Heap also played new songs including album track Hide and Seek, which was received with huge applause by the audience, who clearly idolised her.
Although much of the music was indeed beautiful, and it is rare and very encouraging to see an artist playing every single instrument (apart from the occasional cello part), some of Heap's work could have done with being a little more fast-paced. In a room stuffed with people, bodies rapidly heating, a lot of it just seemed far too relaxing. Songs like new single Goodnight and Go is a prime example of what Heap should be aiming for in the future.
Overall, this was a very enjoyable gig. Showing off her skills on the various instruments she employs, creating sparkling, breathy melodies using only her own voice, Heap managed to convince my companion, hitherto having no idea who she was, to buy her album the minute the shops opened the next day. Can't say fairer than that.
Conclusion: Lovely, but could have done with just a tad more variation, due to making one feel ready for bed by the time it's all over.
To begin with, things weren't going so well. Heap's main support act, cello player Zoe Keating, was wholly disappointing. Keating's USP (unique selling point) is that she layers the sound of her cello by recording different strands over and over again - thus creating layered melodies only using her cello.
This is similar to Heap's own work, but unfortunately for Keating, merely sounds slow, boring and rather sends the listener to sleep, probably because there are no vocals to detract attention or to speed her work along. The sheer volume of noise from the back of the room during her set was a clear indication of this.
Thankfully, Heap herself is electrifying, both thanks to her voice's huge range, as well as the sheer variety of peculiar instruments she utilises in her performance. Her appearance on stage was muted, although her tall, statuesque presence, along with a fantastic red outfit, brought the attention swiftly back to her. Like far too many other performers, it is difficult to understand much of what Heap says between songs - she can seemingly manage to silence a room during her songs, but is unable to put the same power and confidence into the interludes.
The power of her voice came through with great clarity during songs like Just For Now, where Heap shows that she needs no one but herself to create gorgeous melodies and stunning layered vocals, as well as the gorgeously entrancing Come Here Boy, which first appeared in little-known (and shameful favourite of mine) '90s film Virtual Sexuality. Heap also played new songs including album track Hide and Seek, which was received with huge applause by the audience, who clearly idolised her.
Although much of the music was indeed beautiful, and it is rare and very encouraging to see an artist playing every single instrument (apart from the occasional cello part), some of Heap's work could have done with being a little more fast-paced. In a room stuffed with people, bodies rapidly heating, a lot of it just seemed far too relaxing. Songs like new single Goodnight and Go is a prime example of what Heap should be aiming for in the future.
Overall, this was a very enjoyable gig. Showing off her skills on the various instruments she employs, creating sparkling, breathy melodies using only her own voice, Heap managed to convince my companion, hitherto having no idea who she was, to buy her album the minute the shops opened the next day. Can't say fairer than that.
Conclusion: Lovely, but could have done with just a tad more variation, due to making one feel ready for bed by the time it's all over.
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