Goldfrapp, Birmingham Symphony Hall
The venue struggles to give the band's sexier, rocky number the reception they deserve.
Goldfrapp exploded into mainstream consciousness in 2005 with 'Supernature', which boasted thrusting physical tracks with their thumping bass inviting your body to keep rhythm. 'Seventh Tree' is an entirely different animal; therein lies its beauty and serves to illustrate the duo's continual thirst for diversity. 'Seventh Tree' allows you to bathe in Alison's delicately crafted, ethereal vocals.
This venue - a large, all seated modern opera house - is ideal for the more spiritual and dreamy offerings from 'Seventh Tree'. Birmingham Symphony Hall seats over 2000, which Alison confessed intimidated her. The venue is not sold out, which may have contributed in some part to the slow start, but the album moves at a gentle pace and being a seated hall, you would expect no less. The audience appears to be made up of a mix of ardent Goldfrapp followers and newer 'Supernature' fans that had been enticed by the more recent offerings. It is interesting to see different parts of the audience appreciate different tracks. This is not a gig for someone unwilling to embrace Goldfrapp's desire to do something different with each album. Those attracted by the brutish and brash nature of their former album would perhaps find it difficult to appreciate Goldfrapp's more vulnerable side.
The stage is decorated with various pagan, folk festival paraphernalia. Stag antlers sat upon a maypole centre stage which silhouetted against the backdrop of wicca. Small bulb lighting and bunting zig-zagged across the stage, tying the whole scene together. The band of six enters, adorned in white druid robes with clown pom poms attatched. Alison enters stage right in a dusty pink short dress, which wings when she stands arms outstretched. Two signature tracks from 'Seventh Tree' - 'A&E' and 'Clowns', are first to be performed, serving to gently warm the crowd. Then slyly, 'Utopia', is sneaked out; a track this reviewer had formerly believed to have been aided by synthesizers on the album 'Felt Mountain', is now being recreated in its entirety by Alison's exquisite vocal techniques. The venue's acoustics lend themselves majestically to this spectacle, and shortly after Alison announces that she had not slept the night before, which makes the performance all the more impressive.
Alison's sultry lower end of her vocal range gets a chance to resonate with 'Eat Yourself', which has a light, rusty mystical tone to it which is instantly engaging. The audience enjoys the more upbeat 'Happiness' along with the other delights from the latest album in 'Some People' and 'Little Bird'.
The tempo of the gig begins to increase with the tracks 'Ooh La La' and 'Caravan Girl'. The audience are aching to stand and being urged to do so by Alison, who becomes more relaxed and comfortable when many finally do. 'Monster Love' begins with much confusion from the crowd as to whether to remain standing or reluctantly take their seat once more. Alison encourages the audience to remain on their feet, but 'Monster Love' is obviously slow and all but a couple of people at the front, quietly begin to take their seats once more.
The venue struggles to give the band's sexier, rocky number the reception they deserve. However, during the encore, both 'Train' and 'Strict Machine' are confidently thrashed out regardless and received warmly. The gig concludes with 'Strict Machine' climaxing in thunderous applause. By this time, the majority of the audience are on their feet, immersing themselves now totally in the full Goldfrapp experience.
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