Bat For Lashes prances on to the stage, fully clad in gold cape and black spandex leotard looking like she’s about to save the world, and show us a good time while she’s at it.

Surrounded by an American Apparel ad of hipster backup singers, an array of strange instruments and shouts of adoration, the first bars of ‘Horse and I’ begin. Perhaps it’s BFL’s dark, edgy style or absence of catchy melody but the result is bleak: fans stay fixed in place, sipping drinks, conversing, utterly uninspired and unmoving. And usually the opening track should be the most grabbing.

The following ‘Glass’ is equally unengaging. It’s further made ridiculous by an electric fan blowing in her face (is she auditioning for a TV advert for shampoo?) and cheap projector on bed sheet spread behind her showcasing what rustically resemble Microsoft desktop backgrounds.

As a performer she is cringingly charmless. Like a baffled young girl at her first piano recital, she ignores the audience except for a few giggles at photos being taken of her. Even when she plays her big single ‘Daniel’—which is sure to be a crowd-pleaser—her rigid pose only inspires a few head nods and minimal bopping about.

Not only does Natasha Khan as a performer (the singer/songwriter behind the persona) disappoint, her music seems to fall on deaf ears.

By mid-set there is more traffic of fans leaving the pit than entering it, a mass exodus that is embarrassingly noticeable even from the nose-bleed seats. Frankly, it is more interesting to watch the tweaked-out background musicians jingle a few bells like they are on some psychedelic trip (at this point, I want whatever they are taking just to get through till the end).

Her vocals however are astonishing. Though on Two Suns her sound is similar to Imogen Heap, the sheer power behind her voice live sets her apart from the former. The harmonic duets accomplished on ‘Trophy’ create a pulsating rush; however this small carrot is soon spoiled when the ensuing melodic build ups quickly deteriorate into off-key notes and deafening synth.

Unfortunately, despite the action hero gear, she couldn’t even save herself from her terrible performance. Bat For Lashes’ music is made for the bedroom and bean bags, not the stage.

Tags: Bat for Lashes, Natasha Kahn, Roundhouse

This entry was posted on Wednesday, October 28th, 2009 at 00:11 and is filed under Music. You can follow any responses to this entry through the RSS 2.0 feed.