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Imogen Heap @ Shepherds Bush Empire, London
Date: 30th March 2006
Support: Guests
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On arriving at Shepherds Bush Empire, I catch the tail-end of Imogen Heap’s explanations as to how all her various on-stage musical effects operate. Looping, layering, sampling, distortion, piano playing, handmade instruments… it’s all in store tonight. ‘It’s Not Meant To Be Like This’ paves the way for the magic of the evening. As the catchy pop songs are rolled out, it’s soon clear to all present that there is so much more to Imogen than ‘a catchy tune’. Her rather ditzy, likeable persona melts into her incredibly innovative, soothing sounds. The range and variety of qualities that Imogen’s voice can conjure really plays with your emotional response, especially when the execution of these vocal gymnastics is witnessed live.
Her band is introduced to the stage a couple of songs in. There’s a percussionist, a drummer, a cellist and an electronics guy. ‘Closing In’ features Imogen’s subtle use of darkly tinged chords. ‘Headlock’ starts to jingly jangly beats and cello accompaniment but Imogen is clearly dissatisfied with the beginning and decides to restart, apologising profusely to the audience. Everything has to be perfect, or as close is it can be to perfect. The way everything is panning out on stage is like a play or something and Imogen is intent on giving an honest performance with every ounce of her ability. The audience is transfixed, silent and concentrating on the incredible logistics involved in what’s going on. Imogen does a tour around a host of instruments and carefully coordinates all electronic inclusions. It’s quite fascinating.
‘Let It Go’ is particularly beautiful and thought provoking. It’s all about the subtlety of particular sounds coupled with sweeping melodies and catchy hooks. These various elements are combined with electrically spine-tingling results. ‘The O.C.’-related ‘Hide And Seek’ is clearly a highlight of the evening. This isn’t because of its associations at all. As I listen to the amazingly simple yet beautifully crafted melodies, I’m thinking that I could probably listen to this song forever.
‘Daylight Robbery’ comes last but it’s clear that we have a little extra coming as the stage is being rearranged seconds after Imogen leaves. She emerges once more in a humungous ball gown, which was used for the video to ‘Goodnight & Go’. She explains that after the video, she thought she probably wouldn’t have another chance to wear it and so is using tonight as another excuse then launches into a perky rendition of upcoming single ‘Goodnight & Go’. The closer is the last on her ‘Speak For Yourself’ album and is called ‘The Moment I Said It’. In this one she really makes the most of that deeply resonating/airily high vocal combo and drums along on the piano with her hands.
I think everyone leaves in a mixture of good spirits and deep thoughtfulness. These are the things that Imogen’s music is made of.
Imogen Heap’s new single ‘Goodnight and Go’ is out on the 8th May on White Rabbit Recordings (Sony BMG).
For more information you can visit: http://www.imogenheap.com
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