Original article written for The Copenhagen Post
As the rain hammered down on the second of the music days at this year´s Roskilde Festival, the dark, warm, indoor Gloria scene made for a welcoming reprieve from the elements.
It came as little surprise, therefore, to see the intimate scene as packed as it was, prior to the concert of one of this year´s most hyped names – British collapsed pop artist, Tirzah.
A tame introduction at best, with the not-so-apt-an-opening-track, “Guilty,” from her 2018 album ‘Devotion’ did little in the way of creating the warm atmosphere that Roskilde´s fatigued masses so desperately hungered for. As a track, its studio production is a raunchy mess of vocoder-infused weirdness and monotonous instrumentals. Played live, it somehow managed to sound even worse, however.
And so begun what would ultimately be a concert that never quite got out of second gear – Tirzah, praised far and wide for her distracted, parallel pop sensibilities, whether by accident or design, pulled off the unique feat of delivering track upon track of unilateral nature, with each sounding and feeling all too similar to its predecessor.
Throw in a subdued crowd and a composed stage presence that would be perfect in a church concert and what we ended up with was a performance that had the back row fighting to keep their eyes open in Gloria´s obscure confines.
It wasn´t all off-key though – tracks such as the adorable “Holding on” did do their bit to breathe life into the forlorn masses. Similarly, her 2015 production off her eponymous album, ‘Make it up,” towards the end of the show, infused a welcome dose of electro club vibes, giving Gloria some remote semblance of a party worth attending. Moments like these were few and far-between, albeit all the more colourful against the backdrop of a show of pale proportions and somber platitudes.