Birdy at Eventim Apollo, London, gig review: Spectral howls and dramatic flourish make for a mesmerising set
She performs a seamless run through material from her third album Beautiful Lies and various covers of fellow artists
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.Birdy has acquired something of a mythical status in music. Barely 20, yet ingrained in popular culture thanks to her skill at writing heartfelt, evocative music that TV and film producers can’t get enough of, a headline tour beginning at London’s Eventim Apollo feels like a brand new chapter.
Long strands of material drift down to the stage like sea fronds; lit up in watery blues and greens. And in the middle of this, Birdy sits at her piano, resplendent in a shimmering, translucent cape like the mermaid from her video for ‘Wild Horses’.
Keeping the small talk to a minimum, she performs a seamless run through material from her third album Beautiful Lies and various covers of fellow artists: Hear You Calling’, used as the intro in the BBC’s Our Girl, is fuelled by a wistful melancholy for lost innocence, while ‘Skinny Love’, the Bon Iver cover that rocketed her into the public consciousness aged just 14, is just as affecting as it first was.
It’s strange to think how few artists are willing to cover others in their live shows: in the time of Birdy’s great uncle, Dirk Bogarde, it was common practise for entertainers like Frank Sinatra and Dean Martin to sing one another’s songs - if you can make the song your own, why not?
‘Silhouette’ in the encore segues into a gorgeous version of ‘Running Up That Hill’ by Kate Bush, nodding to the artist’s 22-date residency at the same venue, while a duet with her magnificent support Dan Owen for ‘Let It All Go’ recalls the haunting chemistry on Snow Patrol’s ‘Set The Fire To The Third Bar’ with Martha Wainwright.
Closing the show with a rousing performance of ‘Keeping Your Head Up’, Birdy nods to Florence and the Machine with its ambitious high notes, spectral howls and dramatic flourish: it’s the perfect way to finish such a spectacular set.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments