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Imogen Heap charms in virtual one-woman show
01/26/2006 3:38 AM, Reuters
Craig Rosen
British
singer-songwriter Imogen Heap is such a charming performer that
she managed to entertain the sold-out crowd when she made a
mistake.
It happened mid-set Tuesday night at the El Rey Theater, as
she was playing "Come Here Boy," a song from her 1998 debut, "I
Megaphone." Heap caught her own lyrical blunder, had a laugh
about it, and then continued the number where she left off. It
was that good-natured, self-effacing attitude that helped the
singer-songwriter overcome a few minor technical glitches and
put on a thoroughly entertaining and varied 80-minute set.
Heap's voice, which ranges from ethereal to bombastic, has
become a favorite of music supervisors. "Let Go," which she
recorded as part of the duo Frou Frou, was a highlight of
2004's "Garden State" soundtrack. Now working again as a solo
artist, she recently released a second solo set, RCA Victor's
"Speak for Yourself," and her material has appeared on
collections tied to "The Chronicles of Narnia: The Lion, the
Witch & the Wardrobe," "Six Feet Under" and "The O.C."
At the El Rey, Heap played most of the set alone, backing
herself with an array of keyboards, a beatbox, a computer and
effects that she jokingly introduced as "her band." On a
handful of numbers, cellist Zoe Keating -- who also served as
the opening act -- provided accompaniment.
With her dramatic vocals and reliance on keyboards, Heap
came off like a less angst-ridden Brit version of Tori Amos on
a stripped-down take of "Let Go," performed on a grand piano.
Her "Narnia" contribution, "Can't Take It In," was performed
accompanied by Keating. The song's dreamlike quality veered
close to Enya territory, but Heap's quirkiness provided a
slight edge that prevented it from becoming aural Cheese Whiz.
Those only familiar with her softer material were likely
floored when Heap cranked up all her machines, big beats and
all, on such songs as "Goodnight and Go" and "Loose Ends,"
which sounded like Kate Bush backed by Depeche Mode.
Returning to the stage for an encore -- which she
mischievously mocked as a ruse -- Heap stepped out from behind
her keyboards and proceeded to tear the roof off the theater
with "Daylight Robbery," highlighted by a killer riff, big
beats and Heap's high-octane yodeling.
Perhaps the producers of "Nanny McPhee" should take note of
Heap: If the film warrants a sequel, she would be perfectly
cast as the nanny's beautiful younger sister. She could even
contribute a song or two.
Reuters/Hollywood Reporter
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