 | | Imogen Heap |
As she took to the stage bathed only by her own ethereal vocals and a silently smoking Perspex grand piano, she opened the set with impressive flair, taking no time at all to fill the hall with the music box backgrounds and dreamlike harmonies that characterise her experimental style. From the siren-like call of Clear The Area to the running drums of Closing In, each track was as different and well put together as the last. Even when the melancholic of Candlelight was “rudely interrupted by old batteries” (which meant her running off stage, keyboard under her arm), it did nothing to dampen the obvious delight of a dedicated crowd. The classic eccentric, she mumbled and fumbled her way adoringly through the set, unperturbed by a series of minor technical glitches. Passing each off like a pro, she smoothed over the bumps with an intense wit that added character to what was already an intriguing and funny set. A master of theatrics, the spaces between songs were filled with a running musical monologue and introductions to her band – otherwise known as the interesting collection of instruments that graced the stage with her. Indeed, apart from support act Nemo’s fleeting appearances on the rockier tracks, she played entirely solo – each instrument controlled by her, each vocal harmony recorded and layered in front of our eyes. But what was most clear was that whichever guise her beautiful voice came packaged in, her impressive musical talent shone through. In fact, it’s true to say that she is one of the most unique and imaginative current talents you are likely to lay your ears upon. | 
