The Year in Review: Best Concerts of 2013, Denmark

The Year in Review: The top 10 gigs of 2013 in Denmark 

1) Sigur Ros, Roskilde Festival, July 6

I didn’t see Sigur Ros, I experienced Sigur Ros. The Icelander’s music is some of the purest, soul-searching music you will find for miles around; a trance-like journey that rekindles deep-hidden fond memories with an edifying caress that no other band can muster. Sigur Ros were shamanic at their show at Roskilde.

2) Charles Bradley & his extraordinaires, Lille Vega, June 17

The Screaming Eagle of Soul rocked Denmark to its core on his encore at Lille Vega this year. For a man in his sixties who only just rocketed to fame, Bradley’s teary, nervy, sweaty, emotional soul trip is the story of a man who made it in America, after decades of bad luck and strife. James Brown would be proud.

3) Crystal Castles, Store Vega, March 2

Crystal Castles pulled off a seismic show at Store Vega towards the end of the winter, a chaotic, cathartic experience that saw lead singer Alice Glass crowd surf her way to what looked like the middle of the audience at Store Vega. I have never seen anything like it before or since

4) Modeselektor, Store Vega, Feb 14

Berlin’s Modeselektor have been making music since the wall came down a good while ago. As driven today as they were back then, the electronic duo are a symbol of the German capital and frontrunners in the world of electronic music. Props for their party-starting credentials and props to Vega for a very well organised show (which included an ‘artist chat’ session in ideal bar).

  1. Chinese Man, Roskilde Festival, July 4

French turntablists Chinese man were on cue at their show at Roskilde Festival, taking the audience on a journey through dubstep, drum & bass, hip hop and everything in between with a prowess that made it seem as if the genre of turntablism has been around since the dawn of time. Witty, daring and exceedingly cool.

BEST OF THE REST

  1. Shantel & The Bucovina Orchestra, Lille Vega, Nov 28

  2. Reptile Youth, Lille Vega, March 8,

  3. Of Monsters and Men, Roskilde Festival, July 5

  4. Tame Impala, Store Vega, Aug 9

  5. Animal Collective, Roskilde Festival, July 4

Cut Copy, Lille Vega Nov 2013

Aussies bring back the glory days of acid house

Cut Copy
December 13 at Lille Vega

Free Your Mind. The album title of Australian indie electronic band Cut Copy is as self-explanatory as they come – a casual maxim that holds true through all aspects of their addictive synth-filled, strobe-stroked beat landscape. One of four fantastic, varied albums by the Aussies, Free Your Mind is the coming of age of a band that’s up there amongst the very best in electronic music at the moment, a point that their sold-out show at Lille Vega on Friday did its best to hammer home.

Cut Copy stepped on stage before a crowd more curious than anything else and set the ball rolling with new material off the aforementioned album. The album’s recent release date means it’s not that well known so it took some time for people to warm to the proceedings. Several songs in and material off other Cut Copy albums soon followed suit, creating a sense of familiarity that the crowd responded to with warm enthusiasm.

Not so pleasing however was the crisp, almost plastic quality of some of the sound at times, as the vocals failed to hit the emotional high points that they so often do on their albums. Poor transitions between songs also did their bit to dent the evening’s promise though ultimately there wasn’t much that could dampen the rush of blood to the head from the high points of the show, which came and went with the ferocity of waves on a sandy seashore.

Things peaked midway through and once again towards the end, as the Madchester sound of the late eighties that demarcates Cut Copy’s sound, as some of the most ardent purveyors of the bygone days of Acid house music hit home. Epic strobe-light sessions and crowd surfing at the front of the action accompanied the thundering reverberations on stage, rekindling memories of the days when bands like New Order and Happy Mondays run riot on the airwaves, demarcating what music critics of the day charted as the second summer of love (after Woodstock decades before).

After minds were freed and feet were swayed, Cut Copy exited the smokey stage to raucous applause from an audience who’d been taken back in music history in a show that underlined the credentials of one of the most creative bands around.

The Lumineers, Store Vega Dec 2013

The Lumineers

December 9 at Store Vega

Colorado folk rockers the Lumineers gave a clinical performance at a sold-out Store Vega last night. Theirs is a gentle, windswept blend of rock that borrows from traditions of Americana and soft rock styles; a compact rendition that’s easy to sway to and easier still to sing along to.

Gracing the dark stage armed primarily with a mere album’s worth of recorded material off their 2013 eponymous masterpiece, the trio were all smiles as they exited the parapet and shared their music with the crowd.  Popular, catchy tracks off this work such as ‘Dead Sea’ and the merry ‘Flowers in Your Hair’. A warm, enduring cover of Bob Dylan’s ‘Subterranean Homesick Blues’ followed suit, hitting home with the partisan crowd, and showcasing their skills at playing and interpreting other musicians’ music.

This breezy start was short-lived however, as the momentum from the first string of popular songs reeled, though not for too long. Minimalist acoustic versions of lesser-known songs lifted things, as the cheery, swaying mood was subbed for a more quiet, composed intimacy that saw xylophones played and guitars strummed with a soft disposition, working wonders on the crowd, who were still and approving with the benevolence of kids at an ice cream parlor.

This quiet, simple approach to music is indeed one of the defining features of the trio’s music, which at its silent moments acquires a cinematic, ethereal quality that carries it gently through the air. Things did get louder towards the end though as the Lumineers upped the tempo, capping things off with the unforgettable ‘Big Parade,’ the tune that just about sums up all that is good about this band. The crowd made their presence felt on this particular number, yelling along the chorus and rallying for a raucous call for an encore, which duly followed.

The Lumineers re-appeared without too much hassle and closed the night on the same cheery note, signing off having captivated the audience in the most entertaining of fashions. They are surely a band to keep an eye on and their local popularity has been anything but harmed following last night’s neatly composed and well organised concert which did its bit to banish the grim stillness of the cold December night, if only momentarily, to a faraway corner of one’s mind.

Tricky, Lille Vega, Nov 2013

November 29 at Lille Vega

Trip-hop is a genre of electronic music spawned in the aftershocks of the UK’s acid house culture of the early 1990s, with significant rooting in the city of Bristol. Fusing influences of hip-hop and electronica with doses of rock for good measure, trip-hop is eclectic, trippy, and experimental in its purest form.

Indeed it was these three tenets that punctuated Tricky’s concert at a haze-filled Lille Vega on Friday night, as the godfather of the genre himself gave a show that didn’t well and truly get airborne but nonetheless offered a distinct musical experience.

Tricky (née Adrian Thaws) was one of the driving forces behind the legendary act Massive Attack, whose music continues to demarcate the most poignant moments of movie soundtracks today, almost two decades after they rose to fame. His forays with Massive Attack led him to branch out as a solo musician, enjoying chart success with albums such as 1995’s Maxinquaye, whose heights he never quite managed to recapture over a consistent tradition of album releases through the years thereafter.

Playing to a crowd predominantly in their 30s, Tricky walked onto the Vega stage sporting his familiar bare-chested look flanked by his backing band in low-lit, smoky confines, emphasizing the shamanic quality that characterizes his live shows.

An eerie, almost intoxicating start found a rather quiet Tricky confining himself to one side of the stage, even turning his back to the audience on many occasions. Tricky elicited a strong response from the audience with ‘Black Steel’, a riveting revolutionary tune off Maxinquaye that seemed to denote a welcome change of pace midway through. This was however short-lived as technical glitches shot down the track in mid air, prompting a switch to another song.

Tricky seemed unfazed by this and oblivious to the world around him in his corner of the stage, surrounded by a maze of swirling smoke and clearly on a superlative high of his own. The audience then joined the experimentation as a good 20 or so frontrunners got the opportunity to clamber on stage for a couple of songs. Come the end, a noncommittal applause for a curtain call was the audience’s way of responding to a dull and unconvincing performance.

Tricky re-appeared and like Shantel before him on Wednesday at the same venue, performed a few good songs to round off the concert, an eclectic, trippy and experimental performance that called for an acquired taste. There’s no doubting Tricky’s contribution to British music nor his talents as a pioneer in electronic music, but Friday’s show left much to be desired and lacked the spark and creativity of his earlier career.

Shantel & The Bucovina Orchestra, Lille Vega, November 2013

If Balkan Beat is your fancy then Lille Vega was a pilgrim’s temple on Wednesday, set alight by Shantel and the Bucovina Orchestra. Though the show did not sell out, the crowd that showed up was a very enthusiastic bunch, hyped-up from the word go and loud to the very end, somewhat of a marvel considering the concert’s midweek placement.

The Bucovina Orchestra is one of the exciting projects of German DJ and producer Shantel. Many are familiar with their jolly, uptempo Balkan sounds that awaken memories of the film Borat. A boundary breaker from the  techno stronghold of Frankfurt, Shantel draws from the likes of Balkan greats such as Fanfare Ciocarla and Goran Begovic himself and is no stranger to these parts, having performed at the very same venue just over a year ago.

Chaotic at times, Shantel and the Bucovina Orchestra deliver pure party msuic, played with the intent of causing a riot.  Wednesday’s midweek shenanigans at Lille Vega were no different.

After a slow start by their own standards, Shantel & co kicked into gear midway through the proceedings, as signature track ‘Disko Partizani’ rang out to a raucous response. This was followed by a neat ream of back-to back brass-laden tunes that saw T-shirts flung with reckless aplomb as the crowd rekindled memories of Roskilde Festival’s mosh pit moments.

With the night coming to a close, merry, anthemic songs such as the comical ‘Citizen of Planet Paprika’ and the well-known ‘Bucovina’ were but two peaks in a series of late-show antics that worked the crowd into a frenzy. The highlight of this was the entire audience squatting and kneeling on two occasions before flinging themselves upwards for particularly epic chorus moments. In fact, having gone off stage, Shantel & Co were cheered back for an encore from a kneeling crowd that may well have been in downtown Belgrade as opposed to Vesterbro.

Six or so songs later and it was all over after one last wave of bombastic action wrung the crowd into a final furore. Whilst the long encore was a novel move, it did drag on towards the end, way beyond the climax of it all.

With winter closing in, more Balkan action at Vega can be found in the form of Gogol Bordello’s concert on December 6, which promises to be even more enthralling that Wednesday’s show was.

A kiss to the lady of life

For all her vanity, the world is the most beautiful place I know. As I depart for my dreams with the sky a weeping shade of orange and yellow in the horizon, and the wind whispering softly to me, my head is held aloft and my heart is at ease. Birds chirp, and my soul ascends into a symphony. My drowsiness is a most pleasant death, a chord of colours and whispers, my love for the world and all its people, my love of my life – my beautiful world. This is my kiss goodnight to you, though vain you may be.

Imageon

Corporate Social Responsibility: The Curious Case of UCB

A bit of a boring topic some may say, no doubt, but one that is all the more relevant in today’s world: Corporate Social Responsibility. My essay explores one successful example of good CSR in the form of United Colours of Benetton’s approach to tackling anti discrimination through their advertising. At a time of racially inappropriate and racially exclusive marketing, UCB have taken the liberty of tackling the controversies of ethnic inequalities by the horns, knowing that doing so not only adds value to their brand, it also addresses an issue that society, more often than not prefers to vehemently and deliberately exclude from debating let alone confronting.

Diversity and anti-discrimination are but two terms within the the buzz-word diction that has been at the centre of numerous contested and often heated societal debates of the 90’s and 2000’s. Such debate is rooted, in among other causes, processes of globalization that have brought different groups of people, governments and businesses closer to each other. A convergence of ideas and interests, many of which conflict with each other, has led to detailed considerations of accountability and responsibility on the parts of businesses regarding their activities, notions that a very much nascent in the historical context of corporate activity. Businesses can no longer conduct their activities without incorporating some sort of moral and ethical consideration of how such activities impact the surrounding environment (planet), the people involved in or affected by this activity (people) and the economic impacts of corporate activity on society (profit). ( Thorsen and Miesling, 2011)

The case for businesses taking a philanthropic interest in the fate of the world and the issues that undermine society’s progress manifests itself in the creation of shared value and not merely profit per say, as Kramer and Porter point out (Kramer & Porter 2011). Shared value connects societal and economic progress by broadening the scope and aim of capitalism from being an economic framework of operation that has leaned towards cultivating the interests of business at the expense of society, and or subgroups within it. Hence, many businesses have rightly realised over the years that there is an indisputable link between good corporate social responsibility and the long term value of their organizations. The case for practicing good CSR exists, and there is a general acknowledgment of this across the board, ratified no less by the UN Guiding Principles which were formulated as recently as 2011. A nascent set of governing statutes, the UNGP’s preside over a nascent way of thinking; namely adding shared value through the ethos that business need to become more involved in mitigating social issues even if such issues are not directly linked to the operations and thereby may even entail that companies incur a short term profitability loss in actively practicing responsible CSR.

With this said, this essay examines the approach of Italian clothing manufacturer United Colours of Benetton towards diversity and anti-discrimination from the perspective of the human rights framework. Essential in this examination is the correlation between the stated policies towards these issues on the part of this brand and the actuality of these policies in the day-to-day practice and operations of UCB. Though I focus more on their approach to diversity, their stance on anti-discrimination is also briefly discussed.

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In order to gain an understanding of UCB’s approach to diversity and anti-discrimination, it is important for us to know what is meant by this term and its application in the context of the operations of a business. In similar vein, the legal framework in place regarding this topic is also of interest, as a guideline, albeit a vague one, concerning how best businesses ought to approach the issue. Pincus contends that discrimination comes in many forms, manifesting itself on an individual, institutional and structural basis for the purposes of preserving the power of specific hegemonies at the expense of minority groups within such power structures. (Pincus 1986). “Although all three types of discrimination are serious problems, it is harder to deal with structural discrimination than with the other two (individual and institutional” (Pincus 1986) and, crucially for the discussion in this essay “confronting structural discrimination requires the reexamination of basic cultural values and fundamental principles of social organization” (Pincus, 1986). Reiterating my opening statements concerning the convergence of cultures and stakeholder groups in society through processes of globalization, it is evident that a greater tolerance of differences in social and ethnic groups is necessary for the coexistence and development of all societies. The implication of this entails that society as a whole needs to work to address the issue of discrimination in the interest of developing just, morally-correct societies. Within this, businesses too have a responsibility; “to avoid causing or contributing to adverse human rights impacts through their own activities and address such impacts when they occur” and, more importantly, to “seek to prevent or mitigate adverse human rights impacts that are directly linked to their operations, products or services by their business relationships, even if they have not contributed to those impacts” (UN Guiding principles on Businesses and Human Rights 2001). This responsibility is emboldened by the fact that structural discrimination is a particularly difficult strand within the discrimination discourse, as discussed earlier on. We will return to the UNGP’s further on, for now, let us look at the policy of United Colour of Benetton and their link to tackling diversity issues in modern society.

United Colours of Benetton are a subsidiary of parent company, The Benetton Group, a global fashion house based in Italy, with over 6500 stores in 120 countries, making it a multinational business in every respect. Such a multinational character poses challenges on the level of policy implementation for any business, as different markets and cultures pose different needs that require addressing in specific ways. The Benetton group has responded to the challenge of being an international brand by creating specific initiatives designed to address issues of diversity and discrimination.

Keeping in mind the UN guiding principles and the responsibility businesses have to avoid causing or contributing to adverse human rights impacts through their own activities, UCB appear to be a business that go beyond this minimum requirement and attempt to contribute to society in a meaningful manner that supersedes the “do no harm maxim” that accompanies the minimum expectations that the UNGP’s have of companies. On an general level, Social commitment, concern for the environment and ethical behaviour are core values of Benetton Group, a company always conscious of the importance and significance of a responsibility that goes beyond its commercial objectives.” (UCB corporate website 2013). This bold statement is accompanied by policy making that manifests itself in concrete organizational and departmental strategy that specifically focuses on the issue of discrimination and diversity.

One such initiative is UCB’s “UNHATE” foundation, a corporate campaign whose root objective is that of promoting cultural diversity through encouraging greater tolerance and more respect for racial and ethnic differences. Youth are the target group of the foundation, which cites “hate as one of the causes of the lack of social and economic development of new generations” (UCB UNHATE campaign website 2013). In this respect, “ UNHATE Projects support concrete actions in local communities to promote dialogue and the acceptance of diversity, and with their strong message promoting human rights, aim to engage the attention of the public and promote positive actions, where anyone can become a player in the fight against intolerance, from the global scenario to everyday life” (UCB UNHATE campaign website 2013). This is all well and good, from a communication perspective; UCB appear to have very clear goals regarding their approach to diversity and anti-discrimination through their promotion of tolerance and positive values across different cultures that takes its point of departure in the youth but that also engages numerous other stakeholder groups in the process. Is this, however, merely a cosmetic exercise or is the UNHATE campaign a concrete example of pro-UN guiding principles action ? Part of the UNHATE campaign has included visual, video and community-based marketing that has involved the creation of material whose objective is that of provoking some of the essential norms propagated by today’s societies. Such images have included pictures of Chinese President Hu Jintao kissing US President Barack Obama (see appendix 1 ) and another similar, lip-locking image that featured Pope Benedict XVI and Ahmed Mohammed El Taleb engaging in the same activity. The latter image provoked controversy to the extent that the Vatican announced it would take legal action against UCB after it took offense to it. Benetton’s diplomatic response was to remove the image from all publications whilst “reiterating that the meaning of the campaign is that of combatting the culture of hatred in all its forms” along with an apology for the offense caused to the sentiments of the faithful (Benneton Press group note, 2012). Such controversy not only demarcates the issue of diversity in today’s world, it also denotes the intention of a company like Benetton to voice its opinion on the matter, not merely in an attempt to garner more sales revenue, per say, but rather, to take responsibility and “seek to prevent or mitigate adverse human rights impacts that are directly linked to their operations, products or services by their business relationships, even if they have not contributed to those impacts” (UN Guiding principles on Businesses and Human Rights 2001).

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Similarly, going beyond the more symbolic, pictorial manifestations of UCB’s pro-diversity aims, the UNHATE campaign adds another key element of good CSR to its modus operandi, namely that of stakeholder involvement. The Unemployee of the year is a communication campaign under the umbrella of UNHATE that addresses the issue of youth unemployment by encouraging unemployed young adults under the age of 30 to send in testimonials and ideas documenting interesting experiences related to their unemployment. “Set up under the
aegis of the UNHATE Foundation, seeks to challenge clichés about youth non-employment and asserts a belief in the creativity of the world’s youth.
Through it, the UNHATE Foundation, whose aim is to promote a culture of
non-hate, will support youth to become actors of change against indifference and stigma.” (UCB UNHATE foundation webpage, 2013). Testimonials and ideas are shared on social media and a few of the best ideas selected for corporate sponsorship by Benetton. This promotes a culture of co-creation and negotiation between stakeholders and the company, allowing for people who are not necessarily involved with the Benetton brand to take part in discussing some of the social issues that they feel strongly about, such as the right to employment irrespective of ethnicity. Crucially, consolidating the fact these efforts, UCB’s own recruitment policy is one that echoes the company practicing what it preaches, operating by maxims of granting employment opportunities to all, irrespective of race, gender and ethnicity. “ Benetton Group recognises diversity as a source of enrichment, and offers opportunities without discrimination. Diversity and equal opportunities represent fundamental values in the company and are clearly mentioned in the Group’s Code of Ethics.” (UCB recruitment policy, UCB webpage 2013). This last point illustrates the commitment to implementing the values that the company brands itself by and proves that they are indeed good CSR practitioners.

The visual campaigns and the unemployee initiative under the umbrella of UCB’s UNHATE campaign demonstrate a hands-on CSR approach by the company that doesn’t shy away from directly confronting issues of discrimination and diversity that are widely downplayed or ignored in today’s societies. “Failing to raise questions about power relations between identity groups in organisations feeds the contemporary tendency to deny the existence of structural barriers to opportunity in favour of the myth of a meritocratic society that rewards individual achievement” (Sidanius & Pratto, 1999 p 106 in Konrad 2003). By provocatively questioning such power relations and creating opportunities for discussion and debate around them, UCB are not merely complying with the triple bottom line stipulations of the UNGP’s but rather, they are going beyond the scope of their business operations and adding their voice to a contested if not relevant debate of our time. Were one to approach UCB’s policies in a more critical light over time one could argue that their marketing campaigns and in general the approach to diversity is at times, excessively maverick and over-the top. The fact that their 1991 deathbed image of AIDS activist David Kirby dying is ranked as the most controversial campaign of all time in the Guinness Book of Records is a testament to the sort of debate that UCB’s diversity-related practices have triggered over time. This campaign was part of a series of controversial images that had little to do with the overall brand of USB due to, amongst other causes, the fact that the company contracted Italian photographer Oliviero Toscani to manage the campaign and gave him complete freedom to develop imagery of his choice. Given the volatile nature of CSR and the fact that it is in many instances a double-edged sword that can easily do as much harm as good, UCB should indeed be wary of inciting and inflicting more damage than positive credit to their brand name. With this said, this consideration seems to have been incorporated in the modern UCB approach to diversity, which seems to be more mature, and flexible towards the demands of their customer base, as I have discussed in this essay.

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To conclude, this essay has examined the approach of clothes manufacturer United Colours of Benneton to diversity and anti-discrimination. It is clear that, on the basis of the UN guiding principles, UCB not only conforms to the human rights framework; but rather, goes beyond the minimal maxim of doing no harm by taking a civilized altruistic approach to confronting controversial dominant views on diversity in society. Whilst their campaigns have been maverick and rogue in the past, their modern approaches are more mature, consistent and user-driven. These approaches and viewpoints are backed by in-house policies that extend the same ethos to matters of recruitment and human resources, giving the Italian fashion brand a quality of being practitioners of what they preach. 

Seasick Steve, Store Vega, October 2013

Seasick Steve’s path to the success he today enjoys as a Norway-based musician has been no walk in the park. Having run away from a disturbed military father at the tender age of 14, Steve, originally from California, spent many years on the road as a hobo before eventually settling in Scandinavia.  With no musical education whatsoever and an array of self-constructed crude instruments, Steve redefines what it is to be a musician in today’s era of glam-drunk superstardom – and his live shows are, as yesterday’s concert at Vega attests; as genuine a performance as you’ll find for miles around and years to come.

Walking calmly onto the stage clad in a John Deere tractor hat and worn jeans, Steve introduced the crowd to his signature blues rock sound, strumming passionately on his guitar to the tune of ‘Self sufficient man’ off his 2013 album Hubcap Sound.  He was then joined by his drummer, Dan Magnusson, sporting a t-shirt emblazoned with a poetic ‘Go to hell stoned’ print in bold text on its front. This was followed by Steve’s wandering into the crowd and pulling a girl on stage, to whom he then sang the slow, acoustic track ‘Walking Man’, much to the envy of every lady in the house.

Having established a firm bond with the audience, Steve and drummer Magnusson got better and better as the concert rolled on, with Steve experimenting with his array of crude, homemade instruments, which amongst others included a one-string diddley bo that sounded remarkably refined, for an object fashioned of a wood plank with aluminum cans on one end. Cultivating this ad hoc approach to musicianship, Steve and Magnusson wooed the audience time and again, combining seamlessly together to produce a primitive, bellowing blues sound that had a pronounced effect on the crowd, who were extraordinarily responsive. This was particularly evident towards the end of the show, which featured drummer Magnusson improvising by sweeping a broom back and forth on the stage, giving off a whispered whistling hiss, not too unlike that made by a conventional shaker.

Buoyed by the eager crowd, Steve rounded off the show by singing what seemed to be an improvised short version of the tale of his running away as a teenager, a rendition that drove him to the depths of his emotions. A double encore and a rousing applause at the end of his show said all that needed to be said about the concert of this wandering boheme-turned-rockstar, who has repeatedly broken and redefined the nous of musicianship.

Lucy Love, Store Vega. October 2013

When grime rapper Lucy Love first got her game in gear back in 2009, many heralded the arrival of a very unique performer on the local music scene. Packing a solid punch with her vicious lyrics and stern voice, the Zambian-born and Danish-bred Lucy Siame rapidly evolved into a force to reckon with. Fast forward a few years and Lucy’s third studio album, Desperate Days of Dynamite, is wreaking havoc on the streets, having dropped in September.

Saturday’s show at Store Vega was a representation of the album, in itself a dreamy reflection of Lucy’s turbulent persona and the changes she’s been through since her initial success a few years ago.

Playing the eerie, ‘No Scream No Shout’ track off her latest album, Lucy’s stage setup resembled a dystopian world with colourful characters sporting wild, flamboyant haircuts and cult-like body paint. This anthemic tune of rebellion could not have contextualised the concert setting any better: bathed in rows of brilliant blue and raging red that coated the scene in a thick pyrotechnic cumulus cloud, Lucy announced her return to the scene with a searing vengeance that echoed heavily into the night.

Clad in dark clothing that cast a Grace Jones-esque ambiance upon the scene, Lucy Love and her troupe of dancers and backing band were a sight to behold.

The popular tune ‘Prison’ was the second of the evening, featuring the more pop-inclined direction thatDesperate Days of Dynamite has taken. But the best of the ‘old’ Lucy Love was still alive, as proven by tracks such as ‘Daddy was a Deejay’ (which was played both at the beginning of the set and towards the end).

Midway through the proceedings, a dedication to one of the crowd who was enjoying his wedding night clad as a storm trooper spiced things up a bit, adding a comical twist to the evening. This was followed by the spine-tingling ‘F4E’ (‘Friends Forever’, which cast a dark shadow of contemplative, doubting moods that countered the more driven sounds of the performance, whilst epitomizing the deeply sentimental qualities of Lucy’s music.

The end of the show featured songs with rapid arrangements, some of which ventured into the territory of the drum ‘n’ bass genre, which features sporadically in numerous short bursts across different sections of her latest work.

Though some of Lucy Love’s originality has been lost to more pop-induced sounds, she remains a unique artist, one capable of putting on a captivating, creative and highly artistic live show, as Saturday’s performance proved