Live Review: Kimbra, Banoffee

Banoffee’s same-same set complemented Kimbra’s new synth-pop, heavy bass vibe. Set closer Let’s Go To The Beach got a rapidly growing crowd to dance, despite the fact that Banoffee’s own grooves were awkward. Her voice is strong and sensuous, and it takes a brave young woman to get on a rather large stage all on her lonesome, without even a pair of giant headphones to hide behind – she’ll grow into her sleek tunes yet.

Speaking of awkward dance moves, someone please tell Kimbra she can’t dance. She is the patron saint of skinny white girls who can’t dance but really, really want to. There’s something stilted about her movements, movements that are big – all extended arms and moshing heads and twirling. She’s got a stage presence that’s inescapable, yes; it’s difficult to look away from a person so intent on mirroring that voice with her aesthetic. What do we mean? We mean she’s got a set of pipes, a set that elicits awe and so many feels from her audience: they’re an instrument. But the pipes are part and parcel of a wider stage persona, one that demands to take up space, with a strapless silver dress (foil, is that foil, from far away that looks like foil) with a wide hem, hair that’s been given volume (but flattens throughout the night thanks to all that head-banging), a cheeky red-lipped grin, and bold movements.  

The tour is a chance to show off this year’s The Golden Echo, a weak but fun album, a sort of mish-mash of influences and sounds, and a move from the smooth soul of debut Vows into a synth-heavy, bass-heavy funk. The drums and bass sometimes drowned out Kimbra when she doesn’t have a backing track playing, but when she did bring her voice to the fore songs from The Golden Echo sounded stronger. It was an eclectic show in celebration of an eclectic album, moving from brooding ballads to fun-loving singles like ‘90s Music and Miracle to reworkings of songs from Vows – did Settle Down need that breakdown? – updated so they matched her new sonic palette.