Saturday 30 April 2016

Show Boat @ New London Theatre

Show Boat @ New London Theatre

It's fitting that a show about the joy of theatre should itself be such a joy to watch. This revival of the 1927 classic from Kern and Hammerstein has docked at the New London Theatre after a successful run at the Sheffield Crucible Theatre, but it has an upstream battle on its hands in the fight for audience attention.

This isn't a piece of high octane event theatre. And there's no star power to draw in the crowds. Instead it's refreshingly quaint, subtle and overflows with a charm that you can't help but love. Aboard the titular show boat, the Cotton Blossom, is a microcosm of romance, family feuds and racial politics, with a love of theatre drawing together the show's various narrative threads.

More than this, though, it's a show about acceptance. Here we see the show at its best and worst. Kern's wonderful score is a beautiful fusion of operetta and bluesy negro songs; the whole cast come together to perform Alistair David's choreography with unsegregated gusto; and the black characters are given equal opportunity to touchingly portray family life - a first for the time.

Yet we're also expected to accept that a mother and daughter would allow an estranged husband and father back into their lives after years away, an example of the old fashioned sexual politics seen throughout the show. And that's after a second act that moves too swiftly through time as it struggles to wrap up the story.

Show Boat, though, is a vitally important show in the history of musical theatre, integrating music with story and black with white for the first time. Even if it does show its age, the cast are sympathetic to its classic status. As the romantic leads, Chris Peluso and Gina Beck offer some delicate classical singing; Alex Young and Danny Collins make quite the comedy pairing as Ellie May and Frank; and Sandra Marvin truly leads the black cast as the amusingly sassy Queenie. Rebecca Trehearn may only have a couple of short songs as the faded actress Julie La Verne, but her stunning vocal is a real stand out.

Emmanuel Kojo also shines as he leads the men in a softly rumbling rendition of Ol' Man River. And as the song suggests, this joyful, powerful and important show deserves to keep rolling along in the West End for some time to come.

4/5

Watch: Show Boat runs at the New London Theatre until January 2017.

Friday 29 April 2016

New Music Roundup

Calvin Harris & Rihanna – This Is What You Came For

Calvin Harris & Rihanna – This Is What You Came For

Lightning does not strike twice. We Found Love was a one off.

This Is What You Came For is…fine. A solid banger. A standard non-chorus. An uninspiring vocal from Rihanna, recorded after Harris played her the track at Coachella a mere two weeks ago.

It’s a solid and enjoyable grower, if pretty generic. And generic is not what we came for.

Listen: This Is What You Came For is out now.




Zedd & Kesha – True Colors

Zedd & Kesha – True Colors

Fans of EDM producer Zedd will already be familiar with this, the title track of his debut album. Now Kesha has defiantly stepped up to take on the vocals, and it’s hard not to read new meaning into the lyrics: “I won’t apologise for the fire in my eyes / Let me show you my true colours” she sings in the chorus. The first track released after her court battle with Dr Luke, it’s a clear middle finger to the producer. And rightly so.

Listen: True Colors is out now.




AlunaGeorge & Flume – I Remember

 AlunaGeorge & Flume – I Remember

The title track from the duo’s forthcoming album, its spacious beats, expertly chopped vocal samples and glittering synths blend their sultry R&B sound with Flume’s unmistakeable production style. After previous single I’m In Control and another new single in My Blood with Zhu, anticipation for the album is literally building by the day.

Listen: I Remember is out now.




Flume feat. Tove Lo – Say It

Flume feat. Tove Lo – Say It

And AlunaGeorge aren’t the only ones to be working with Flume. The Australian producer has paired with Swedish sensation Tove Lo for Say It, on which her trademark raw lyrics float over clattering syncopation and whirring synths. It’s a match made in heaven.

Listen: Say It is out now.




Blink-182 - Bored To Death

Blink-182 - Bored To Death

This is the first track to be released since original guitarist and vocalist Tom DeLonge left the band to be replaced by Matt Skiba (originally from Alkaline Trio). And yet, it still sounds undeniably like a Blink-182 track, albeit without their trademark teenage comedy lyrics. And isn't that why we loved them in the first place?

Listen: Bored To Death is out now. New album 'California' is out on 1st July.




Disciples and David Guetta - No Worries

Disciples and David Guetta - No Worries

Look, this is an absolute banger. The beat is HUGE. The talky bits give an 80s House vibe. The vocal hook is infectious. And the deep bass production will shudder you to the core. This is absolutely your new weekend anthem.

Listen: No Worries is out now.




Kyla La Grange – Hummingbird

Kyla La Grange – Hummingbird

Hummingbird might just be the most Kyla La Grange song that Kyla La Grange has recorded. We all know the shift from folksy songstress to icy synth queen, but this new track is the most assured combination of the two to date, its catchy pop chorus stomping beneath lilting melodies and romantic lyrics. When is that album coming?!

Listen: Hummingbird is out now.




Shakka feat. Chip – You Don’t Know What You Do To Me

Shakka The Lost Boys

This track is taken from Shakka's 'The Lost Boys' EP released last year, but now it's reworked with an additional rap from Chip (formerly Chipmunk). This is simply two bright young London artists combining soulful, future R&B with grime and making a massively exciting track in the process.

Listen: You Don't Know What You Do To Me is out now.

Thursday 28 April 2016

The Toxic Avenger @ The Southwark Playhouse

The Toxic Avenger @ The Southwark Playhouse

The Southwark Playhouse is celebrated as a venue for little known, undiscovered, and brand new musicals. The Toxic Avenger is simply the latest in a long line of hits – and a bloody good laugh too.

Following the success of last year’s Bat Boy (and in the tradition of Little Shop of Horrors and The Rocky Horror Show), it’s a modern rock musical with cartoonish style and gruesome fun that’s based on the 1984 movie of the same name. Its irreverent story, with book and lyrics written by Joe DiPietro (Memphis and I Love You, You’re Perfect, Now Change), pokes fun at both superhero movies and musicals, with plenty of little cheeky nods to Les Mis and others in this production directed by Benji Sperring.

Set in the fictional town of Tromaville, New Jersey, the area has become a toxic dumping ground for the rich inhabitants of Manhattan. In the midst of pollution, the geeky Melvin Ferd the Third (Mark Anderson) vows to save the town from its corrupt mayor (Lizzii Hills) and impress Sarah, his blind love interest (Hannah Grover). Except, when some bullies throw him in a vat of toxic waste, he returns as a mutant hulk with fearsomely impressive strength (even if his costume is laughably less than convincing).

Of course, nothing is quite as it seems. Blind Sarah is not the typically sweet innocent blonde she initially appears to be – she’s a rampant sex fiend desperate to sleep with “Toxie” who she assumes is a muscular French lover, for who else could love him but a blind girl? And Toxie himself is a gentle creature, who promises not to be violent and sings in a sweet, high tenor. The narrative does just enough to turn the genre on its head, providing plenty of belly laughs in the process with its crude humour and frequent obliterating of the fourth wall.

Much of the humour, though, stems from Black Dude (Ashley Samuels) and White Dude (Marc Pickering). With only five members of the cast, they are forced to switch rapidly between a multitude of different roles. What could become tiresome instead becomes a thrill, the audience never knowing what they’ll do next: scientists, rock singers, policemen, drag hairdressers and more. Their performances provide a solid backbone for the remaining three. Hills offers a tour-de-force performance as both the Mayor and Ma Ferd in “Bitch/Slut/Liar/Whore”; Grover is utterly convincing as the blind Sarah; and Anderson offers a stunning vocal that, in true Frankenstein fashion, finds the humanity inside the monster.

With its vibrant and fun style, catchy rock score and brilliant performances, this comic musical is intoxicating. U2 and Spiderman should be quaking in their rubber boots.

4/5

Watch: The Toxic Avenger runs at the Southwark Playhouse until 21st May.

The Toxic Avenger @ The Southwark Playhouse
 Photo: Claire Bilyard

Sunday 24 April 2016

Beyoncé - Lemonade

Beyoncé - LEMONADE

On 'Beyoncé', the visual album that Beyoncé Beyoncéd in 2013, there's a track called Superpower. With additional vocals from Frank Ocean, she strides towards the camera in a whirl of riot imagery gradually flanked by people: men, women, black, white. As the title suggests, it's a song about power. And more than any other track, it marks the starting point for her latest album, 'Lemonade' - her most politically charged to date.

Yes, it's a concept album about a cheating husband, with Beyoncé taking us through the various stages of her emotions: denial, anger, apathy, through to redemption. "You can taste the dishonesty, it's all over your breath" are the first lyrics we hear on opener Pray You Catch Me; by the album's conclusion, she's found forgiveness and revels in the love of her family ("so we're gonna heal, we're gonna start again"). It's cinematic storytelling, raw, painful and honest.

But more than this, 'Lemonade' is an album about power. Female power. Sexual power. Black power. The power of motherhood and family. The power to overcome adversity. The album title may suggest fizzy pop, but it's a powerful statement: when life gives you lemons, make lemonade.

As before, this is a visual album, one with stunning cinematography and powerful imagery. But this time the music and visuals are far more tightly integrated in what is essentially a modern, cinematic musical. Beyoncé takes us on a tour of black history and culture, using a cheating husband as a springboard to racial politics. And that's not to mention the various quotes, samples and guests that emphasise the focus on strong black women, from the voiceover reciting poetry from British-Somali Warsan Shire, to Nina Simone references, Serena Williams dancing and a speech from Malcom X. She flits between plantation costumes, tribal war paint, hoodies and glamour. On Hold Up, she struts in a flowing orange dress, every inch the superstar, before she's handed a baseball bat and destroys everything around her. It's campy and fun, but it plays with stereotypes and our expectations of black women. She's dangerous. She's sexy. She's powerful. Not since Michael Jackson has a popstar encapsulated these elements so effectively.

The music follows suit in its combination of black genres, a hodgepodge of reggae, bluesy swing, soul and modern R&B all underpinned by sharp hip-hop production. The sinister opening notes of Pray You Catch Me set a mournful tone as we begin to delve into the dark, bitter and twisted psyche of a woman scorned. If Hold Up fuels the fire of pain, then Don't Hurt Yourself is ablaze with anger as she growls over Led Zeppelin samples accompanied by Jack White. Sorry and 6 Inch are the most current songs on the album, the former reminiscent of Jealous from the last album, the latter featuring chart staple The Weeknd.

It's in these darker moments that Beyoncé revels, both musically and visually. As the storytelling leads towards reconciliation, it's almost disappointing to leave this disturbing intrigue and end up, through the pastiche of Daddy Lessons, to a happier, wholesome place. Freedom marks a musical climax with its mix of genres and a breathtaking guest rap from Kendrick Lamar. It's antithesis is Sandcastles - a simple piano ballad with an impossibly raw vocal.

Without the visuals, though, the album loses much of its impact. This is not a purely sonic experience. You won't find any obvious singles here - it's a layered, complex and at times abrasive piece of work that demands to be watched and heard in its complete form. Lead single Formation may stand out for its explicit call to arms, but it doesn't quite fit with the conceptual narrative.

But then, this is Beyoncé. She's already released some of the best singles of the 21st century. With 'Lemonade' she's truly transcended pop music: a visual album that should be considered a total work of art and further cements her status as one of the most important musicians of our time. It's a statement of power and a powerful statement.

4/5

Gizzle's Choice:
* Don't Hurt Yourself
* Sorry
* Freedom

Listen: 'LEMONADE' is out now (on Tidal at least).


Wednesday 13 April 2016

M83 - Junk

M83 - Junk

M83 have always had a playful side. Sure, they may be best known for their cinematic electro, whilst their breakthrough album ‘Saturday=Youth’ is full of moody teen angst. But they also have songs about cleaning rockets (Up!) and very tiny, special frogs (Raconte-Moi Une Histoire); bizarre cover art and science-fiction inspired videos (Midnight City); and they experiment with genres and form, with their 2011 album ‘Hurry Up, We’re Dreaming’ fusing rock, ambience and electro pop in both lengthy epics and short interludes.

In cinematic terms, the French band’s latest album ‘Junk’ is like a Pixar film: vibrant, colourful and cartoonish, but with plenty of adult appeal. Their concept art is all rainbow fonts, alien puppets and cute dogs, like Sesame Street in space. And TV shows from the 70s and 80s have provided frontman Anthony Gonzalez with plenty of inspiration. Musically, the album blends jazz, funk, electro, rock, and lounge music, up-tempo kaleidoscopes rubbing shoulders with lilting melancholy.

The result is an album that’s fun, campy and experimental, taking the junk from the past and making it sound relevant for the future. It’s something that worked for Daft Punk and it certainly works here, developing the M83 sound in a novel and creative direction.

Take opening track Do It, Try It. It’s got house piano, space-aged synths, and processed vocals blended together with disco sounds and an almost prog-rock sensibility. The cutely-named Bibi the Dog squelches and bubbles underneath a French monologue. Moon Crystal sounds like the intro to some incredibly cheesy sitcom. Time Wind, featuring Beck, wouldn’t sound out of place on Daft Punk’s ‘Random Access Memories’. And Road Blaster is the sequel to Midnight City, with its infectious syncopation and the band’s now trademark saxophone.

Solitude is the album’s lengthiest track, travelling through gentle ambience into a soft rock Bowie-esque ballad that eventually evolves into orchestral strings over the course of six minutes. It’s followed by The Wizard, one of the album’s short interludes that lurches us into spacey magic – a juxtaposition of tracks that reflects the band’s sense of extremes.

At the mournful end of the spectrum, Sunday Night 1987 ends the album with a dreamy lullaby that’s genuinely touching. But it’s For The Kids that really tugs at the heartstrings. It begins like a Disney ballad, Norway’s Susanne Sundfør singing “Where are you now?  Who do you go to for a shoulder to cry on?” that bleeds into lyrical saxophone. Is that the ghost of a mother reaching out? Or is the child’s monologue in the middle eight calling out from death (“I am everywhere, you remember?”)?

Adults and children; darkness and colour; cute duets between men and woman; funky synth rhythms and melancholic orchestral strings. ‘Junk’ is an album of contradictions, giving life to the past with heaps of fun.

4/5

Gizzle’s Choice:
* For The Kids
* The Wizard
* Road Blaster

Listen: ‘Junk’ is out now.



Sunday 10 April 2016

All Saints - Red Flag

All Saints - Red Flag

The girls have continued exactly where they left off.

Their previous reunion in 2006 - in a career full of ups and downs - resulted in 'Studio 1', an album that flopped commercially but has since gained cult status. The girls are known for their edgy R&B sound, but they've always managed to adapt to current trends: here it resulted in the hip-hop style of Chick Fit and the ska-influenced lead single Rocksteady.

With 'Red Flag', that remains as true now as ever. Initially it sounds like a striking throwback. Those voices sound immediately familiar: Melanie Blatt's strong lead, the husky depth of Shaznay Lewis, and added harmonies from the Appleton sisters. And there's that ineffable sense of cool. The girls were always positioned as anti-Spice Girls and their darker, grittier aesthetic is as captivating now as it's ever been (just minus the crop tops).

More so, there's a sense of experimentalism here - something else the girls were always known for, with Pure Shores especially. It's the sort of thing that was rife in the 90s and that pop music nowadays often shies away from. One Strike opens the album in stark fashion with its reversed samples and cold, dry beats; it's followed by One Woman Man, all moody bass, heavy percussion and dramatic strings. Later there are the sinuous melodies of the title track and its oscillating synths and, best of all, the tribal beats, lush harmonies and world music feel of the appropriately named Tribal - a polished mixture of Moby meets William Orbit.

This experimentation also launches the girls into the present, even if they occasionally misfire. The abrasive Ratchet Behaviour is a step too far into reggae material that feels a little out of place, whilst some other tracks fail to make much impact. Nestled in the centre though is Puppet On A String that adds dancehall rhythms for a sound that successfully pairs All Saints old and new. It helps that the girls have worked with producers past and present - K-Gee and The Invisible Men amongst others.

The emotional core of the album, though, is Who Hurt Who, a song that directly addresses the girls' past. "Did you ever think we'd get on better now we never have to worry", they sing in the chorus. It's been fifteen years since the girls first broke up, but 'Red Flag' - their most consistent album to date - proves they're stronger than ever.

4/5

Gizzle's Choice:
* One Strike
* Puppet On A String
* Tribal

Listen: 'Red Flag' is out now.


Friday 8 April 2016

New Music Roundup

Yeasayer – Amen & Goodbye

Yeasayer – Amen & Goodbye

Harpsichords patter with gentle applause. Space synths whirr and bleep. Sitars plink and slide. Guitars throb.

Yes, Yeasayer return with an album that’s as idiosyncratic and weird as ever. The band described the cover art as “Sgt. Pepper meets Hieronymous Bosch meets Dali meets PeeWee’s Playhouse”. That sort of surrealism applies to the album too. There are at times Beatles levels of creativity in the production (with a modern twist of course), but the overall sound transcends genre, time and place. Take I Am Chemistry: whistles and grinding synths launch into hypnotic bass guitar, then there’s a psychedelic break, bleeping space sirens, an acoustic sing-along with a choir of angelic voices, more spacey synths, and a final chorus that dissolves. All of that in one song. Phew.

And yet somehow it all sounds cohesively Yeasayer. The band are known for their experimental psychedelia and ‘Amen & Goodbye’ is no different, even if it’s a step beyond the neon vibrancy of debut ‘Odd Blood’ and the deep electronic murmurings of its follow up ‘Fragrant World’. Here we have a Baroque pop album that merges old and new – flutes, harpsichords and “computer canticles”. It’s wonderfully creative, but lacks the hooks of their past material: standout singles like O.N.E or Henrietta. Silly Me comes close, but this is more successful as an experimental album than weird pop.

Listen: ‘Amen & Goodbye’ is out now.





Tegan & Sara – Boyfriend / U-Turn

Tegan & Sara – Boyfriend / U-Turn

The Canadian twins have graced us with not one but two new singles. Both continue the fizzing electro-pop style of their exceptional ‘Heartthrob’ album from 2013. Both will feature on their forthcoming album ‘Love You To Death’, out in June. Both are infectious, polished, and tightly constructed pop songs. Everything is indeed still awesome.

But more so, they position Tegan & Sara in a growing list of outspoken LGBT pop performers that includes the likes of Years and Years frontman Olly Alexander and Troye Sivan. “You call me up like you would your best friend / You turn me on, like you would your boyfriend / But I don’t wanna be your secret anymore”, they sing on Boyfriend. That’s a lyric that anyone, gay or straight, can relate to.

Listen: Boyfriend and U-Turn are out now. ‘Love You To Death’ is released on 3rd June.





J-Lo – I Ain’t Your Mama

J-Lo – I Ain’t Your Mama

My general reaction:

shimmy
http://i.imgur.com/Z6y3QL3.gif 

shimmy
https://49.media.tumblr.com/dcc5f36ea59d307a89b2ac628ebdaca6/tumblr_n1vtaeoZ6G1qlvwnco1_r1_500.gif 

shimmy
https://45.media.tumblr.com/29b41ebea0b01751e0e06c08c0d8ffea/tumblr_n7zouxuFdQ1tej170o1_500.gif

shimmy
http://images.lifeandstylemag.com/uploads/images/file/5644/beyonce-dancing.gif?fit=crop&w=680


Listen: I Ain’t Your Mama is out now.




Erik Hassle – If Your Man Only Knew

Erik Hassle – If Your Man Only Knew

Typically dark, yearning stuff here from Sweden’s Erik Hassle. If your man only knew how good he is so that everyone would buy his records so he becomes a star over here like he deserves.

Listen: If Your Man Only Knew is out now.




Noonie Bao – Reminds Me

Noonie Bao – Reminds Me

More Swedish goodness, this time from Noonie Bao. Reminds Me is a delicate waltz of string droplets and swirling piano arpeggios that lurches into a dizzying, bass wobbling chorus. The mix of classical and pop styles is intoxicating.

Listen: Reminds Me is out now.




Lido – Crazy

Lido – Crazy

This new track from the Norwegian artist is a vibrant concoction of chopped samples, hip-hop beats and processed vocals that swirls and morphs in kaleidoscopic fashion. But watch the video to see him literally conducting the heck out of a load of lights – it’s mesmerising stuff. 

Listen: Crazy is out now.




Laura Mvula & Wretch 32 – People 


Mvula has teamed up with Wretch for this melancholic call to action that stirs up gospel, soul, classicism and hip-hop. “Our skin was a terrible thing to live in”, she sings, before the enlightening chorus “How glorious this light in us, we are a wonder” and a surprisingly powerful rap from Wretch (“life’s a bitch oh life’s a bitch”). This is the sound of urban Britain, politically charged and beautifully performed.

Listen: People is out now.




Chelsea Lankes – Secret

Chelsea Lankes

Secret is taken from the Texan’s self-titled EP that follows a handful of single releases. The evocative synths, driving bass guitar and lush vocal harmonies provide a typically American-Swedish sound – it’s not difficult to imagine Katy Perry singing something like this. Breezy, solid pop from a future star.

Listen: The ‘Chelsea Lankes’ EP is out now.




Sigala feat. John Newman & Nile Rodgers – Give Me Your Love 


Sigala feat. John Newman & Nile Rodgers – Give Me Your Love

Sigala = one of the biggest names in dance-pop music, delivering some great tunes.
John Newman = that Rudimental guy with the grating soul voice.
Nile Rodgers = guitar legend.
The result? A funk banger that needs more guitars and less singing.

Listen: Give Me Your Love is out now.




Tom Odell – Wrong Crowd

Tom Odell – Wrong Crowd

The King of Boring has released a new single and it’s….ok!

Listen: Wrong Crowd is out now.

Wednesday 6 April 2016

Allie X @ Birthdays, London

Allie X

Why isn't Allie X more successful?

Seriously, it's like Carly Rae Jepsen all over again. The Canadian singer (now based in L.A.) has all the talent and all the songs, but she's still skirting the fringes of super-stardom.

Her 2015-released 'CollXtion I' EP, the songs of which formed the entirety of her set at this gig (alongside excellent new single Old Habits Die Hard), has certainly brought her a wealth of dedicated fans. It starts with a track called Hello that came way before Adele and launches into a whole string of pounding electro-pop bangers. There are shades of Chvrches, Icona Pop and Carly Rae across the release: the stomping, grinding Prime; the yearning emotion of Tumour and its lofty chorus; the whirring, hypnotic Good; and the lushly layered synths of Sanctuary to name a few. She even lent her songwriting to Troye Sivan on his 'Blue Neighbourhood' album last year.

Yet if Allie X draws one comparison, it's to Lady Gaga. As she sauntered through the crowd and on to the stage, dressed in some sort of furry shoulder piece and her trademark circular sunglasses, she looked every bit the popstar. Even on such a small stage, an aura of grand theatricality surrounds her: she jerks robotically to every beat of the music, a musical persona come alive, those glasses creating an impenetrable distance between her performance and her fans. Take them off and the façade would fall into girlish charm. And like Gaga, she has the voice to match the colourful drama. For all the visual appeal, you get the sense that she'd sound just as good sat alone at a piano, her high soprano faintly operatic as it soars into higher registers with some impressive ad libs.

Her only fault at this stage is a lack of material. At a mere thirty (maybe forty) minutes, the set was criminally short and didn't include all the songs off her EP, leaving the audience wanting. All the ingredients are here for Allie X to reach the heights of pop fame, she just needs a stage big enough to hold both her leaping vocal and distinctive theatricality.

4/5

Listen: 'CollXtion I' is out now.

(Apologies, the lighting was not conducive to good photography)

Allie X

Allie X

Allie X


Friday 1 April 2016

New Music Roundup

Nick Jonas – Close feat. Tove Lo

Nick Jonas – Close feat. Tove Lo

Not content with creating a pop power couple with Tinashe on the Jealous remix, Nick Jonas has now joined forces with Swedish wonder woman Tove Lo. Close is another moody pop track, whilst its video is suitably intense with some very cool chair choreography and interesting underwear choices. Watch out Bieber, Nick’s on your tail.

Listen: Close is out now.




Fifth Harmony – The Life

Fifth Harmony – The Life

Not content with having one basic bitch anthem in the charts, the girls have added another one with The Life. And just like Work From Home, it’s terrible common denominator dance-pop that’s also incredibly catchy. No doubt there’ll be another try-hard video slut-dropping our way soon.

Listen: The Life is out now. Album '7/27' is out May 20th.




Meghan Trainor – Watch Me Do

Meghan Trainor – Watch Me Do

When did Meghan Trainor get (kind of) good? Watch Me Do is a Justin Timberlake tribute, all funk rhythms and blaring horns that proves alongside the Britney-esque No that she’s quickly becoming the master of pop pastiche.

But then she uses the word “breasteses”…

Listen: Watch Me Do is out now. Album 'Thank You' is released May 13th.




Birdy - Beautiful Lies

Birdy - Beautiful Lies

On her latest album, Birdy seems to be hovering somewhere between Florence Welch and Norah Jones. Just look at the cover! One minute she's singing grand pop ballads like Shadow or Deep End, and the hands-in-the-air single Keeping Your Head Up (that's way better in remixed form). The next she's singing dinner party beige like Lost It All. Thankfully there's more of the former, but the wispy vocals and airy songwriting lack impact - both musically and emotionally. Beautiful, sure, but it would be a lie to say this will be soaring up the charts.

Gizzle's Choice:
* Shadow
* Deep End
* Keeping Your Head Up

Listen: 'Beautiful Lies' is out now.




Biffy Clyro – Wolves of Winter

Biffy Clyro – Wolves of Winter

It’s been a while since the Scottish rockers released new music and there’s certainly an appetite for some guitars in the charts. Wolves of Winter, though feels a bit disjointed with its lurching riffs, anthemic melodies, and spiky rhythms – there’s just too many ideas here to make a cohesive song. Still, there are high hopes for the full album, released in the summer.

Listen: Wolves of Winter is out now.




Petite Meller  - Lil’ Love feat. Pnau

Petite Meller  - Lil’ Love feat. Pnau

Is this the best track the French pop chanteuse has done? Yes, yes it is.

Listen: Lil Love is out now.




Clare Maguire – Elizabeth Taylor

Clare Maguire – Elizabeth Taylor

There’s a parallel between Clare Maguire and the Hollywood star her latest song references: both women expressed discontent with the studios controlling them and have received rehabilitation for alcohol abuse. Now Maguire returns after the disappointing reception of her 2011 debut with an emotive piano ballad that’s a far more simple song than the gothic power tracks she released before. It’s not quite Adele, but Maguire certainly deserves success.

Listen: Elizabeth Taylor is out now.




A.K Paul & Jai Paul – Landcruisin’

A.K Paul & Jai Paul – Landcruisin’

The most mysterious brothers in pop have combined forces for this new track. Choppy samples, funk rhythms and grinding sci-fi synths make this sound like Prince forced through a sawmill – in the best way possible. The albums of both brothers have been a long time coming, but let’s hope that together they can release a joint album that finally lives up to the hype.

Listen: Landcruisin' is out now.





Jason Derulo - If It Ain't Love

Jason Derulo - If It Ain't Love


This is good right? RIGHT?

Ok fine, it's rubbish. But it's properly catchy. And it's on repeat. I can't be alone, can I?

Listen: If It Ain't Love is out now.




Broods - Free

Broods - Free

The brooding New Zealand duo return with a track that's a more upbeat take on their moody electro, with synths that fizz and spark and a huge cinematic chorus. Brilliant.

Listen: Free is out now.


Dua Lipa @ Heaven

Dua Lipa @ Heaven

DUA LIPA. It's a name emblazoned at the back of the stage in bright neon. And it's a name you'd better get used to.

It's in the last few months that the English-Albanian singer and model has shot to fame, with two critically acclaimed singles released and a spot on the BBC Sound of 2016 longlist. The debut album is still a ways off, but at this gig at London's Heaven she gave just a small taste of what we can expect.

And that's quite simply banger after banger. Lipa is an artist who encapsulates the zeitgeist, an artist for the Instagram/Snapchat generation. She prowls the stage in a leotard with 'troublemaker' across the front, a figure of confidence and sensuality, her long hair shading glitter coated eyes. Covers of Jamie XX's I Know There's Gonna Be (Good Times) and A$AP Rocky's L$D proved her edgy sense of cool, whilst her own tracks of dark, stomping electro pop slot neatly into current tastes. Charli XCX should be quaking in her boots.

The audience were of course waiting for the icy dance beats of Be The One, the laidback Emile Haynie-produced New Love, and the throbbing new single Last Dance. Other tracks, though, proved the consistency and contemporary feel of her material. Hotter Than Hell is surely a future single, Mwah (clearly an ode to Holly Valance) unearthed a sassy side to the singer as she strutted around the stage, and another song gave off some serious Dev Hynes vibes with funky guitars and tropical beats.

Yet Lipa remains an individual. Her sound is fresh and relevant, and whilst her deep voice has a London/Winehouse twang, it is unmistakeable. For all her colourful visuals and popular social media following, at this gig she proved she has the songs and the charismatic stage presence to back up her inevitable success as a proper all-round popstar. "What a night,"she noted to the crowd, "this is insane". When the album drops later this year, it'll get a whole lot crazier. Remember that name.

4/5

Dua Lipa @ Heaven

Dua Lipa @ Heaven

Dua Lipa @ Heaven