Ultimately, everything about what my mum said was wrong. La Roux, at the release of the debut, self titled album in 2009 anyway, was a duo. Producer Ben Langmaid, and singer Ellie Jackson, teamed up to make catchy synth pop goodness, and singles "Bulletproof" and "In For The Kill" received plenty media attention, notably getting constant air play on Radio 1. Unfortunately, their platform in the mainstream media fizzled out after that. I wasn't even aware that La Roux was now a solo project and that Jackson had released a new album until I got to the gig.
It's a genuine shame that major stations like BBC Radio 1 haven't provided much coverage to Jackson's latest musical adventures. It doesn't surprise me though. Radio 1 is increasingly obsessive over what is new and what is now. If an artist has difficulty with album production, and release dates get pushed back, mainstream radio stations seem to consider them irrelevant. Note The Horrors latest album, Luminous. It's release was only delayed by a matter of months, yet their airplay was significantly lower than the singles from their previous albums. The music industry is a dangerously fast paced place.
Nevertheless, La Roux probably hasn't been damaged too much by ignorant radio stations. The 02 ABC is surprisingly full when I arrive, as Meanwhile, the support band, are already playing. I meet my friend, who tells me, "There's a man in a turtleneck grinding against synthesiser." This is something I have to see.
They're entertaining, undoubtedly. They're memorable too which is more than I can say for a lot of support bands I've had the misfortune of seeing. They make funky, 80s grooves. Imagine Prince, if Prince was white, and also a five piece synth led band. They play quite a long set but it's enjoyable, it's fun. It's an ideal set up for a night of electronic pop.
La Roux surprises me from the second Jackson takes to the stage. She walks on to "Let Me Down Gently", a brilliant track from her new album "Trouble In Paradise". The song's intro is made up entirely of samples of Ellie's distinctive, breathy voice, creating an almost angelic chorus for her entrance. It's gorgeous, reminding me of more alternative electronica like Purity Ring and Thom Yorke, but as the song develops it's clear that the focus is synth pop. I take no issue with this, as what La Roux does, she does it well. The fact I'm watching a synth centred artist perform with a full band makes me smile too. I appreciate when artists put effort into their live shows.
She sings flawlessly, impressive considering her famously high pitched songs. Her vocal ability is astonishing. Alongside her energetic stage presence, it's difficult to take your eyes off her. She's stunning, dressed simple in a black long sleeved t-shirt and gold loose trousers. Her androgyny makes her even more fascinating. Everything about her is elegant, simplistic, and yet on stage she takes huge steps, dancing boldly.
The songs from the debut La Roux album aren't as strong as those from "Trouble In Paradise". She feels more polished, more confident than she did five years ago. They play hit "In For The Kill" quite early into the set, and Jackson is noticeably more confident. Her vocals soar effortlessly and she looks so content and comfortable on the stage.
The highlight of the set is "Silent Partner" a seven minute exploration in synth from her new album. Jackson plays electronic drums while dancing her signature skipping motion. The song is almost New Order-esque and the passion in which she hits the drums is impressive. It's a perfect pre-encore number, and the crowd goes wild for her. "La Roux, La Roux, La Roux is on fire!" chant the audience in a thick Glasweigan accent. She even receives a marriage proposal during this song.
I could not be more impressed by Ellie Jackson. The extent that she and her music have grown since my last interaction with her in 2009 is admirable. It's clear that the split from her previous band mate was a blessing, not a curse. Although it does seem to have put a spanner in the works in terms of media coverage, but people are still listening and attending gigs on an international scale. Azealia Banks just released her debut album independently and the media also appear reluctant to assist her in advertising her work. Perhaps what we need to see more of is powerful women becoming successful on their own, in a way that works for them. It's time to see mainstream artists prove that the mainstream media is not a necessity for them to thrive in the industry.
8/10
