Amelia’s Magazine | Goldfrapp

Having taken to a stage that was decked out like a scene from the Wicker Man (indeed, we did get snippets of said film’s soundtrack played beforehand), complete with an antler-topped maypole, with Alison Goldfrapp dressed in what looked like a jester’s smock and the rest of the band all in white, the evening opened with Paper Bag, from debut album Felt Mountain. Followed by A&E, the opening single from their latest album, we then got Seventh Tree played in pretty much its’ entirety.


Never having been one for pomp and circumstance, this was my first visit to the rather imposing edifice of the Royal Albert Hall, and I think I wasn’t the only one in the audience to feel a little odd attending a gig in such a venerable setting. Even Alison Goldfrapp seemed a little taken aback by playing in the cavernous auditorium.

In amongst the new songs during the first half of the set, there was a soaring rendition of Utopia, complete with Goldfrapp’s Morricone-esque falsetto. Indeed, the cinematic feel of Felt Mountain complements the more restrained, pastoral Seventh Tree in the same way that the electro Glam-stomp of Supernature was a natural progression from Black Cherry. A string section added a lush sheen to the Gainsbourg-esque Cologne Cerrone Houdini, whilst contributing to an immense You Never Know. The second half of the set picked up momentum, with Ooh La La getting the audience to their feet, and dancers dressed variously as May Queens and bikini-clad vixens (amongst other things) taking to the stage. There was a rousing finish with the infectious Caravan Girl and an encore that climaxed with Train and Strict Machine.

Goldfrapp seemed to be really enjoying herself by the end, basking in the audible adoration of the audience. Any doubts that there may have been over whether they could fill such an imposing stage were swiftly dispelled by a dazzling show.

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