It's been a ridiculously long time since I've reviewed a live show in addition to blogging so this will be slightly disjointed but when reviewing a show that flowed so well, it shouldn't be too tough!
So we arrived at the Scala with high expectations of both acts performing. Let's just say life hasn't been going swimmingly for me recently with one thing and another and this was a welcome night out, especially in the company of my favourite Swedish electro-pop female, quite the accolade i'm sure you realise.
Having already seen Lykke Li live way back in June at Latitude festival, I have since rinsed the album, listened to it until I could listen no more and then made my peace with it, so it was an excellent opportunity to renew my fascination with one of my favourite albums of the year so far and in particular, a song that is dripping with meaning for me currently.
First up however was Micachu, an artist whose name has been knocking around for a while and has earnt her some prestigious support slots, including Esser and Lykke Li whilst also playing London's Concrete & Glass festival and Manchester's In The City. However, I failed to see what all the fuss is about. Taking to the stage with a similar setup to Lykke Li with her acoustic guitar, keyboard and sampled drums, Micachu failed to capture the intimate nature of the night. The horrible overdrive that was layered over her tiny acoustic guitar destroyed the only passable lead instrument and wailing vocals did little to engage or inspire an audience with high expectations. For me, she was a complete flop, there were moments that showed promise but for those to be dashed left me feeling particularly unfulfilled by an artist that promised so much.
However, I wasn't there to see Micachu. And as Lykke Li's instrumentalists took to the stage to the sounds of her album opener 'Melodies and Desires', I remembered why I fell in love with the album, why I bought these tickets so long ago and why she managed to sell out the Scala. The bleak instrumentation and electronic bleeps set the tone for what was to be a mesmerising hour.
You can't help but be entranced by Lykke's hypnotic rhythm and delicate vocal to songs that she understands has got her quite the reputation. And she duly delivers, playing every song from Youth Novels that you want to hear, even refraining Dance, Dance, Dance during her astounding cover of Vampire Weekend's Cape Cod Kwassa Kwassa. As the mixed crowd roars when the opening samples from Little Bit are played, it is evident that the rinsing Radio 1 has given to Breaking It Up has not turned Lykke Li into a one hit wonder; not for that song anyway. And it is during Little Bit that for me, Lykke peaks. We'd been commenting throughout that her vocal hadn't been quite hitting the notes, that she seemed nervous. Who wouldn't be at the biggest show she's ever played? But during Little Bit, everything seemed to fall into place and as cliched as it sounds, you truly become lost in the moment, witnessing a girl in her element singing a song of such intensity and maturity it is impossible not to wonder if this is the best performance she has ever given.
Her set could easily have peaked there but with Complaint Department and Window Blues still to come, Lykke continued the wave of euphoria and wonder that was sweeping the audience and the doublet-time ending to Complaint Department is something that can only be really appreciated live. It was also amazing to hear her unknown track Until We Bleed live, a venture that she took with Swedish producer Kleerup (of With Every Heartbeat fame). And as Breaking It Up brought her set to a close, it was clear that months on the road for Lykke Li has built within her a sense of true pride in her songs and also built a loyal fanbase for her to perform to. And you can count me among them.
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