Imogen Heap, Pikelet @ ThePalais Theatre, Melbourne(18/04/2011)

Fri 22nd Apr, 2011 in Gig Reviews

Following a successful string of Australian dates throughout 2010, charming chanteuse Imogen Heap made a return to our shores for another showcase of her acclaimed body of work. An upgrade to The Palais ensured an appropriately theatrical setting for Heap’s Melbourne show, as an unforgettable evening began to unfold.

In support was Evelyn Morris, better known under her Pikelet moniker. While the local talent appeared shy in her approach to a respectful audience, Morris’ craft gave rise to great self-assurance instead. Pikelet utilised loops of slapping percussion and twinkling toy-box xylophones to create an intriguing introduction to the evening, her set in full bloom. It became obvious that Morris is quite the whiz-kid, creating an elaborate soundscape from her sparse station. Her music’s soothing, yet imaginative quality straddles an electronic lo-fi territory akin to that of Beach House, a minimalistic approach prevailing.

Morris’ music bears a distinct appeal and for that reason it can be polarising to audiences. In addition, her tact ultimately becomes all too familiar and, being charged with the sole task of creating such an abundance of instrumental complexities, her set often flies close to a state of catastrophe. Every now and again, one sensed that proceedings were eluding Morris’ control, amidst an otherwise superb sense of management. This conundrum was only the trade-off for such inspired ambition, however, as Morris successfully provided both an interesting and absorbing appearance. A surprising talent, Pikelet must surely be an essential staple of Melbourne’s live music scene. Long live the power of the loop.

Imogen Heap would then return to the stage as the main event of the evening, prompted by a booming orchestral overture. Twirling a unique lasso with theatrical poise, Heap would usher in her opening song The Walk as her band – amazingly comprised of just two additional members – joined the fray. The set list for the evening had been determined by Heap’s die-hard fans; the songstress happy to play favourites both past and present as per votes cast online. To that end, Goodnight And Go twinkled to life, Heap’s fantastic voice coming to the fore. The song also illuminated the sheer wealth of instrumental avenues at her disposal. It was gadgets and gizmos galore amidst an array of keyed devices, each drawn upon to ensure an emphatically intricate and creative show. Heap, with her two accompanying musicians, provided the output of an accomplished, self-contained orchestra. This feat alone would prove monumental. That it was executed near flawlessly made for an enthralling spectacle indeed.

It was a night of many highlights; from the tender solo rendition of Wait It Out to the haunting cacophony of Aha!, Heap’s every action – spoken, sung or otherwise – proving utterly enchanting. The enduring memory of the evening for most may well be the rendition of Just For Now. Heap called upon the entire audience to assist in the performance, dividing the Palais into thirds. Briefed in their respective parts, an enormous choir was formed, backing Heap in warm, hushed tones. Though a staple of Heap’s set, having also featured within her 2010 appearance at Billboard, it was nevertheless a special series of spine-tingling moments that earned the adoration of the entire venue.

The only real hiccup of the evening came when Heap’s stage setup inexplicably failed. Roughly ten minutes was dedicated to rectifying the situation, Heap steadfast in her determination to use the instruments as intended. Normally, no audience would entertain such a lengthy interval. The fact was, however, that Heap had already well and truly won the respect – and in turn the patience – of everyone in the venue. Having shown herself to be brilliantly eccentric, kooky (and arguably all the more likeable for it) Heap was more or less off the hook. She would eventually concede the hopelessness of her situation, however, trading in her keytar for the more traditional piano. Much to the surprise of the audience, however, the keytar would make its return free from some previously cumbersome technology to curate a thrilling finale, Heap donning some sunglasses and rocking out without restraint. It was a glorious end to a show that truly earned its standing ovation.

In case it weren’t obvious, Imogen Heap’s return to Melbourne quickly became one of the best shows 2011 has had to offer so far. A true master of her craft, Heap casts herself as a mad scientist of the music world, bringing together an impossible multitude of sonic elements to create a dynamite performance. Highly recommended.