Bat For Lashes 2012-11-27
Paradiso, Amsterdam, The Netherlands
Set 1
Lilies
What's A Girl To Do?
Glass
Travelling Woman
Oh Yeah
All Your Gold
[banter]
Marilyn
Horse And I
Laura
Lumen
Prescilla
A Wall
Sleep Alone
Pearl's Dream
[encore break]
The Haunted Man
[banter]
Daniel
What's A Girl To Do?
Glass
Travelling Woman
Oh Yeah
All Your Gold
[banter]
Marilyn
Horse And I
Laura
Lumen
Prescilla
A Wall
Sleep Alone
Pearl's Dream
[encore break]
The Haunted Man
[banter]
Daniel
Set 2
Set 3
Comment
This gig had originally been scheduled to take place before the summer, if I
remember correctly, but was postponed so that Natasha Khan could finish work
on her third album, 'The Haunted Man'.
I arrived just a little too late to record Race Horses' supporting set, but I
was able to listen to most of it. I can't say that I was gripped by them.
Bat For Lashes is a different kettle of fish, however. I enjoyed them/her
quite a lot; more than I expected to, in fact.
Not only do the songs hold up well to live scrutiny, Ms. Khan is irresistibly
likeable, too. Her enthusiasm cascades from the stage and the smiles on the
faces of her band speak volumes on her behalf.
I don't have much else to say about this, really. The comparisons are already
so well-worn that I don't feel inclined to point out the ones that I feel
actually hold water. Besides, Khan stands on her own two feet and needs no
bolstering from being likened to others with whom she shares a few largely
coincidental qualities.
Personally, I like the direction Khan is moving in with her latest album. I
find it more engaging than the first two outings.
The highlight of the set for me is unquestionably 'Marilyn', with Khan's vocal
aerobatics entering the stratosphere and encountering the spirit of a 'Blue
Bell Knoll' era Elizabeth Fraser. Alright, yes, I just lapsed into a
comparison, but it dealt with only one song and it's the last I'll make; I
promise.
There were quite a few chatty girls at this gig. A couple of them spent some
time staring at me, probably because I was focused on the PA, whereas their
attention was fixed on the band; when they weren't fucking chatting to each
other, that is.
So, whilst I may very well look weird, because I appear to be in some kind of
trance, I think you normal people, who go to gigs by an artist whose music you
profess to love and then proceed to talk over it all evening, are the fucking
weird ones.
Once again, supercardioid microphones are a godsend. Don't leave home without
them. (Unfortunately, a couple of days later, I did exactly that, and so the
recordings of MONO and Dirty Three I had hoped to bring you from Le Guess Who
in Utrecht will now not materialise).
'Moon And Moon' appeared on the set-list in brackets as the first song of the
encore, but was not played.
The sound in the Paradiso on this occasion was truly glorious and this really
shines through in the recording.
As always, samples are provided to help you decide whether this is worth the
share ratio depletion for you.
remember correctly, but was postponed so that Natasha Khan could finish work
on her third album, 'The Haunted Man'.
I arrived just a little too late to record Race Horses' supporting set, but I
was able to listen to most of it. I can't say that I was gripped by them.
Bat For Lashes is a different kettle of fish, however. I enjoyed them/her
quite a lot; more than I expected to, in fact.
Not only do the songs hold up well to live scrutiny, Ms. Khan is irresistibly
likeable, too. Her enthusiasm cascades from the stage and the smiles on the
faces of her band speak volumes on her behalf.
I don't have much else to say about this, really. The comparisons are already
so well-worn that I don't feel inclined to point out the ones that I feel
actually hold water. Besides, Khan stands on her own two feet and needs no
bolstering from being likened to others with whom she shares a few largely
coincidental qualities.
Personally, I like the direction Khan is moving in with her latest album. I
find it more engaging than the first two outings.
The highlight of the set for me is unquestionably 'Marilyn', with Khan's vocal
aerobatics entering the stratosphere and encountering the spirit of a 'Blue
Bell Knoll' era Elizabeth Fraser. Alright, yes, I just lapsed into a
comparison, but it dealt with only one song and it's the last I'll make; I
promise.
There were quite a few chatty girls at this gig. A couple of them spent some
time staring at me, probably because I was focused on the PA, whereas their
attention was fixed on the band; when they weren't fucking chatting to each
other, that is.
So, whilst I may very well look weird, because I appear to be in some kind of
trance, I think you normal people, who go to gigs by an artist whose music you
profess to love and then proceed to talk over it all evening, are the fucking
weird ones.
Once again, supercardioid microphones are a godsend. Don't leave home without
them. (Unfortunately, a couple of days later, I did exactly that, and so the
recordings of MONO and Dirty Three I had hoped to bring you from Le Guess Who
in Utrecht will now not materialise).
'Moon And Moon' appeared on the set-list in brackets as the first song of the
encore, but was not played.
The sound in the Paradiso on this occasion was truly glorious and this really
shines through in the recording.
As always, samples are provided to help you decide whether this is worth the
share ratio depletion for you.
Sources
| SHNID | Date | Venue | City | State | Archive Identifier |
|---|
Created At
Tue Aug 13 2013 22:44:43 GMT+0000 (Coordinated Universal Time)
Updated At
Tue Aug 13 2013 22:44:43 GMT+0000 (Coordinated Universal Time)
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