Thursday 02 September 2010
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La Roux

Eccentrically-coiffed pop princess stuns the crowd in Glasgow

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****

For La Roux, a Top 10 album and a Mercury Music Prize nomination since their first single suggests that they’re one of the breakthrough British acts of 2009. This soaring career trajectory sets the bar high for any support act, so expectations are high for the dubiously-named Ou Est Le Swimming Pool. Unfortunately, the Camdenites are let down by their bad boyband stage presence and uninspiring banter; “This one’s for all you lovers out there” is the standard here. The music is depressingly prosaic, made up almost entirely of recycled synth loops and often-clashing two-part vocal harmonies. 'The Key' offers a glimmer of hope, with its tense riff and monotone, darkwave-esque vocals, but overall they fail to impress.

Forty-five minutes later, La Roux finally appear in a blaze of lights and colour. Frontwoman Elly Jackson is at first little more than a stark silhouette against six huge LCD panels, powering through 'Tigerlily' and 'Quicksand' almost without drawing breath. The elaborate lightshow turns La Roux's set into a glittering spectacle. Fan-favourite ‘In For The Kill' is mesmerising, while 'Colourless Colour' proves an unexpected highlight; Jackson’s quivering falsetto harmonising perfectly with backing vocalist Mickey O’Brien. William Bowerman’s electronic drumbeats lay down a thudding wall of sound, stopping just short of overwhelming Jackson’s vocals. The only disappointment comes with 'Finally My Saviour', where music and vocals feel out-of-sync.

The famously awkward singer initially seems overwhelmed by the audience’s adoration, but turns playful when the first item of lingerie lands at her feet. Later, when a condom is thrown onto the stage, Jackson is quick to identify the culprit, feigning incredulity as she asks "Who brings a condom to a gig?” before cheekily declaring, “That makes sense... you look like a wanker." La Roux’s show is everything that's best about pop music; it's loud, garish and theatrical. From brooding electro laments to hands-in-the-air synth-pop, it’s a consistently dazzling event.

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