Artists like The XX and James Blake have helped pave the way for expansively sparse production methods in emerging artists, something that support slot; Majical Cloudz, have drawn on. While the vocal is deep and emotive, there’s no clear link tying it to the ethereal backing. They make the sort of music that sounds incredible at 5am but struggles to fit the 8pm excitement felt in the underbelly of London’s Heaven nightclub. I will just come outright and say it – this band would be a million times better if the vocal aspect was removed completely.
DJs performing in front of large crowds always strikes me as being a difficult task, I mean watching an unnaturally skinny guy named Becoming Real twiddling behind a Macbook doesn’t scream excitement. However, I have to hand it to the guy as he has already perfected the art of DJ twerking which fit perfectly with his acid fuelled cacophony of samples and beats.
Grimes is in the building. Arriving almost invisibly in total darkness, there’s a lot of expectation as to how Boucher can deliver Visions and Halifaxia in a live setting. Predictable is one word that can’t really be used to describe a Grimes show as the arrival of her friend Emily who spends most of the set writhing about on a pole in the background. The hits come thick and fast with Oblivion being; in my mind, being dropped too early in the set but the energy it causes to erupt justify its premature placing. Aside from being the support, Majical Cloudz also double up as Grimes’ live ‘drummer’. I use ‘drummer’ sarcastically because despite appearing to beat the crap out of his synth drum pad... no sound actually comes from it. Be A Body follows yet falls a little flat as it seems Grimes has yet to figure out how to transport the heavily effected vocal into her live show.
Stage presence seems like second nature for Boucher, as she struts behind her deck like a woman possessed. Night Music gets off to a troubled start as recent equipment theft means some samples aren’t in their normal places; problems aside, it’s another stroke of genius from the mind of Grimes. It will continue to astound me how people create music like this.
Genesis is thunderous and a definite highlight, inciting a mass sing-along despite it being one of the hardest tracks to lyrically decode. Throughout I can’t help but be mesmerised by the presence of the two incredibly mental backing dancers holding neon light wands, blowing bubbles and attacking the crowd with blow up beach balls. Claire knows what works so leaving recent Blood Diamonds collaboration Phone Sex as an encore makes perfect sense as the euphoria is ramped up to 11 with confetti canons exploding over the crowd. So far so fantastic... That is until a lead is pulled out and the sound totally cuts out, forcing Grimes into conversation with the crowd, highlighting just how vulnerable she seems. It may not have been the epic climax she was hoping for, but she played Phone Sex twice and if; like me, it’s your favourite song, then I can easily get over the brief pause in proceedings.
This was my second time seeing Grimes and technical difficulties aside, tonight London belongs to Grimes.
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Written by - Rachael Scarsbrook
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