Meb Byrne

Archive for the ‘british’ Category

La Roux

In album, british, concert, music, nyc, performance on November 20, 2010 at 9:55 am

La Roux, the British electro-pop group, performed its last concert of a two-year tour this week at New York City’s Terminal 5. The young band, while not without its minor flaws, revealed lots of potential for albums and tours to come.

Francis and the Lights, a duo with self-important hairdos, jump-started the show with no fanfare or introduction. Two young men, clad in black suits, drew on Ziggy Marley and Sting for their bass-heavy tunes. The lead singer was chronically ironic, cutting off his Kings-of-Leon-inspired vocals to perform a spastic dance break, a three-second drum solo, or shake a tambourine with dour hipsterness.

The second opening act, Far East Movement, is famous for their electro-hip hop single, Like A G6. The inexplicable yet catchy tune drew the likes of Snooki from MTV’s Jersey Shore, in the city to celebrate her birthday. The three rappers took the stage in skinny ties, skinny jeans and astronaut helmets lined with blue and red LED lights. The group’s explosive set and high-energy antics roiled the crowd into a slamming, jumping frenzy. Even Snooki waved along.

La Roux took the stage after a break that let the audience’s endorphins dip a bit too low. Two keyboard players and a drummer were snazzy in angular black and white suits. Elly Jackson, the lead singer and face of the group, swept onto the stage in a floor-length gold jacquard cloak and lots of silver jewelry, silhouetting her improbable hair against a flashing image of her golden disembodied head. Leaning close to the crowd, she rocked her way through the group’s eponymous album. Highlights included I’m Not Your Toy, Colorless Color, In For The Kill, Bulletproof, and a very good cover of the Rolling Stones’s Under My Thumb.

Elly’s strength is the audience’s adoration. Her fans were more excited to see her than to see her perform; at the end of each number, she stood stock still and the crowd went wild. Her somewhat flagging energy and awkwardly pained facial expressions betray her reported reluctance toward fame, which is a pity. When she really cuts loose, her tight, controlled movements, menacing grimaces and 80s-inspired footwork command tremendous power, amping up the show’s energy a hundred-fold. The sooner Elly realizes how fierce she is, the better.

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