Murphy's set was extraordinary. "Do you want to take a our relationship a little further, Bristol?" she asked, coyly, before a note was played. Through her personality and her witticism's she won everyone over immediately. Throughout the forty minutes, Roisin changes clothes continuously. This makes her act so compelling. "Will the REAL Roisin Murphy please make herself known?" she asked aloud between songs.
Her set comprised of many cuts from her most recent record Hairless Toys; an album which was nominated for the Mercury Prize in 2015. Gone Fishing and Unputdownable so subtle in delivery and yet so listenable. The opening number Dear Miami equally beguiling.
I think the minimalist aspect of Murphy's music is a joy. I cannot think of another artist making spacious records like Murphy at present. And yet Murphy continues to use those spaces. The lengthy silences at the beginning of Unputdownable create such suspense, alongside lengthy chords from her four piece band backing her. Murphy's drifting vocals almost acting like a lullaby. I will add that the best time to listen to Hairless Toys is just before bed.
Following Roisin Murphy, was Daughter. The lights dimmed, and there was a haunting echo. Deep blue lighting lit up the three-piece band. The spaciousness of Daughter's records also apparent live. In the track Numbers, there is reverberation that rocks the crowd. Lead singer Elena Tonra's "oh, oh, oh!" sounding duplicitous.
Daughter are compelling, with foreboding and hollow lyrics. Guitars are swapped frequently, enhancing a variety of sounds from a jangly guitar to a storming bass line. Tonra's vocals rise and fall above the drums throughout.
You can't dance to Daughter, but one must appreciate their heavy sound, and their moody atmospherics. This was a confident show from a band who have cut their teeth and are now starting to soar.
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