
Winning a Grammy for ‘Best Engineer’ doesn’t sound that glam or sexy, but the confidence gained from her recent win is evidenced by Imogen Heap’s new live set. Taking to a stage adorned by various instruments, her Perspex piano sat next to a fairy light tree off which hangs a gong and various percussive trinkets, the intricacy of Imogen’s ‘engineered’ electro-pop creations is soon to be impressed upon us.
Winning a Grammy for ‘Best Engineer’ doesn’t sound that glam or sexy, but the confidence gained from her recent win is evidenced by Imogen Heap’s new live set. Taking to a stage adorned by various instruments, her Perspex piano sat next to a fairy light tree off which hangs a gong and various percussive trinkets, the intricacy of Imogen’s ‘engineered’ electro-pop creations is soon to be impressed upon us.
In the space of the first three songs, Imogen has used a bank of synths and keys to produce hooks and samples, played at her piano, and utilised microphones placed strategically on her wrists to mimic a drum beat. After proving her solo prowess, she is joined by her band (including support act and fellow electro whizz Tim Exile) and pulls some shapes for the sleek pop-stomp ‘Headlock’.

Veering between shimmering balladry and catchy pop numbers, Imogen’s show is a rounded presentation of her sonic imagination. Although her album was completely self-produced, she’s not an octopus and so the band setup allows her creations to come alive. Various unusual techniques are employed – for example, the drummer sings through a device around his neck to produce a bassline – alongside more traditional methods, including the employment of a cellist for the epic ‘Canvas’. Highlights include ode to a supposedly ‘vegan’ boyfriend ‘Aha!’, the brooding instrumental ‘Fire’ and set closer ‘Tidal’, where Imogen rocks it up with shades and her keytar. I should add that Imogen is flued-up for the duration of the show, and yet she soldiers on with aplomb and is charming and pleasant throughout.

The encore is a time for stripped-back magic, with Imogen once again alone on stage and utilising her keytar to great effect for her signature hit (and now crappy R’n’B guy Jason Derulo’s) ‘Hide & Seek’. The keys produce vocal notes as she sings, producing the double-tracked synthetic sound that makes the track so original and such a popular choice for use on TV and film soundtracks. Immediately after, Imogen splits the audience into three sections and implores us to sing different parts of the melody for the nostalgic whimsy of ‘Just for Now’, and a gorgeous solo piano performance of ‘The Moment I Said It’ is imbued with a cracked vulnerability when Immy’s sore throat threatens to stop her hitting the high notes. She pulls it off, and the audience is left wondering why we need the Americans to heap plaudits upon her when she’s a homegrown wonder us Brits should cherish.
Words: Luke McNaney