Within the Opera House, two dead trees wait on the stage as UK songstress, Natasha Kahn is about to take the stage with her critically acclaimed group, Bat for Lashes. Having fans such as Thom Yorke, Debbie Harry and M.I.A (actually who gives a shit about M.I.A.) in your corner can't help but to cause a bit of hype within people who are keen to find out what all the fuss is about.
Likened to P.J. Harvey, Bjork and being heralded as the next Kate Bush, I saw a lot of these influences/comparisons within her, but she has her own identity as well. Opening with 'Glass' off her sophomore effort 'Two Suns' the spectacle is already in force with a five piece band in tow and a 5 piece suited orchestral section providing the musical accompaniment to a moody light show and video projections.
The travelling drum beat of 'Sleep Alone' continues on the show into the theatrical Fur and Gold track 'Horse and I'. A black and white film of 16th century upper class grace the back screen as the string section really shines as well as Natasha's fast paced keyboard skills. Guitarist Charlotte Hatherley (of Ash Fame) joins her at the piano for backing vocals and taking an odd box shaped instrument off of Natasha's percussion table.
The piano led 'The Bats Mouth' is heartbreaking with Natasha's amazing voice really shining through. This song is nothing short of brilliant with the acoustics of the Opera House resonating every note into sonic brilliance. The moving lyrics of two lovers is accompanied by what seems like old french cinema excerpts and to say the song is moving is an understatement. The Fur and Gold track is a true highlight.
'The Wizard' continues on and Natasha's higher vocal range is on show here with a tight drum groove courtesy of Sarah Jones (of New Young Pony Club fame) who quite simply radiates throughout the night and almost at points, steals the show. 'Trophy' continues on and is more of a darker minimalist affair compared to the rest of the show. During various points of the track all of the band do the clapping section and it is rather cool to see the orchestral section juggle their bows and clap.
Natasha takes back the piano for 'Sirens Song' she leads the track in very sensitively and can be related to the beauty and intricacy of 'The Bats Mouth'. But when the song arrives at the chorus an explosion arrives with Sarah's drums crashing in and the strings adding to the intensity and drama of the track. I know I have already mentioned this, but the acoustics of this venue are fucking amazing. Every silence is silent and the loud sections are nothing short of explosive. Kudos to the crowd (for the most part) for remaining silent and respecting the environment that the show was trying to establish.
'Moon and Moon' follows on from the stunning 'Sirens Song' and its quieter nature is an odd follow through to single. 'Whats a Girl to Do' the track that identify with its well done clip of synchronised bmx'ers in animal masks. Its a slightly darker affair with imagery of lovers in the forefront of a burning house in a 50's esque film being the backdrop to the piece. Drums once again thunder on through til the bridge of a very hip hop sample fires off.
Known quite simply as 'Oh Yeah', the band launch into a new track which has an almost asian overtone to it. With the synths and drums working together to a unique time signature. Her vocals sound even more ambitious then past Bat releases. Keep an eye on this one as it comes to surface, hopefully on a new album?
'Pearls Dream' abandons a lot of its electronics to more of an appropriate for the venue cinematic sound. 'Prescilla' sees Natasha take on an Auto harp and the famed clapping that has sprung up at various points through out the night is back. Debatably her most popular track 'Daniel' drops in with the crowd showing enthusiasm. It is her highest energy track tonight but it is not her best, despite the crowd thoroughly enjoying it with clap alongs and cheers ensuing. A heck yeah is yelled out and responded to by Natasha jokingly saying 'heck' was appropriate for the opera house.
'Big Sleep' is a much slower affair and takes the standing up audience back to their seats. Finishing up with Two Suns B-Side 'Wilderness' which sees Róisín Murphy come out in the form of a vhs tape duet following this interesting collaboration the band wrap up the rest of the track unassisted and leave the stage.
With a large number of crew swarming the stage, worries set in of a no encore affair but with the house lights still remaining to come on. Natasha Khan arrives back on stage with only the string section (which has been brought to the front of the stage) as her accompaniment.
She launches into what can be best described as a unique encore of covers and rarities.
Kicking off, my interest is sparked as Natasha and the strings launch into a cover of one of my favourite Radiohead tracks 'All I Need' which is shown to me in a whole new light with the female vocals and strings only approach. I was worried at first about the validity of this cover of such a great track. But the level of talent here is definitely worthy with the lead violinist providing a psychedelic screeching which plays a new voice to the ensemble.
A intricate little cover of The Cure's 'Lullaby' also makes an appearance and is also a worthy twist on the original. The Strings really add that sense of mystery to the track with the pizzicato method of playing being a cornerstone. An old track 'Howl' makes an appearance and the results are once again intriguing.
'Strange love' by Depeche Mode is turned into a theatrical onslaught with the mostly ascending violins building an intensity that the original does not have. In fact this version shits all over the original! Finishing up with the Peter Gabriel track 'Solsbury Hill' the crowd uprises and if anyone was not giving a standing ovation they would have been shunned and chased out of the venue with pitchforks.
A definite spectacle. For their first trip to Australia Bat for Lashes certainly did not disappoint. The spectacle on show was top notch and at times sampled all the best bits of the other acts playing at the festival and put them all into a best of in the most positive sense of the word. Elements of theatre, opera and electro rock were all on show here, from the dead trees on the stage to the stylised video clips to Natasha's red and black dress. You can tell that she has a bachelor degree in music and visual arts.
Every musician apart of the show was insanely talented and a marvel to watch. The string section should be made apart of the official line up for they will draw a crowd every time. Thats not to mention the marvel that was Sarah Jones drumming.
Once again another asset to vivid and another show that has blown my socks off.
Lets hope they will be back soon and in this environment.
I highly recommend that you Check out the videos below from the performance.
http://www.youtube.com/watch?v=rCCLUzPQbY0
http://www.youtube.com/watch?v=Mm5v2qFwjMM
http://www.youtube.com/watch?v=daBwyf3ZxDw
http://www.youtube.com/watch?v=3kcTpsFTnsA
http://www.youtube.com/watch?v=kSmFoxoSEv4
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