Even though Schubas is one of Chicago's most lauded
venues and is literally like watching an artist
perform in a living room, the current hype surrounding
Imogen Heap warrants a much more spacious place. Yet
for the sold out crowd who entered the esteemed room,
it was like a slice of heaven her on earth as the
singer/songwriter unfurled an hour's worth of dreamy
piano pop that could truly transport listeners to
another world. But backing up a bit for those
unfamiliar, the English bred Heap first debuted as a
solo artist in 1998 when her debut disc I-Megaphone
hit stores on Almo Sounds. Now that it's out of print,
the project has become a hot collector's commodity,
though her next venture caught on with much more
accessible wind.
Though one could've assumed the
sophomore CD to be another solo project, Heap actually
paired with producer Guy Sigsworth (Madonna, Bjork)
and they christened themselves Frou Frou. After
tearing up the indie pop underground and scoring some
mainstream acclaim thanks to its debut disc Details
(MCA/Universal) the pair surprisingly split company,
putting the attention back on members' regular gigs.
And that return to solo ranks, along with a new CD
called Speak For Yourself (RCA Victor) is what brought
her to town much to the delight of diehards.
Thankfully Heap kept them satisfied from the start,
entering the club from the public's door and walking
through the crowd with a mantra-like chat. The sublime
nature of her pipes was soothing and also led to
several stunned reactions as they realized it wasn't a
taped loop but truly the headliner nestling in right
next to them. By the time Heap made it to her piano
console, all were drawn to her welcoming presence and
clung to every word. After briefly explaining what
each item was on stage (from a laptop to various
keyboards and sound effects mechanisms) she tore into
several songs off the new disc and a few older
selections. Current cut "Goodnight and Go," along with
"The Walk," were both bathed in her delicate, darling
vocals and backed by programming akin to the
Eurythmics or anything else along those delightful 80s
lines.
Come a flashback to "Candlelight," those dance
leanings turned towards the ethereal, recalling the
early days of Kate Bush and her obvious offshoot Tori
Amos. The same could be said about "Hide & Seek,"
though Heap seems to have her ears trained closer to
the radio than some of those aforementioned artists'
mystical intentions. (After all, she has a penchant
for the punchy, as evidenced in her airtime on "The
O.C."). There were also nuances of Bjork in the show,
such as during the chilling tribal undertones of "Have
You Got It In You?" and the Frou Frou alum "It's Good
To Be In Love."
Even with this obvious appeal, Heap could stand to
learn a bit from the likes of her influences,
especially when it comes to stage presence. Although
the concert was supposed to be intimate and
spontaneous, she had a hard time deciding what track
order to tackle since her set list was not scripted.
But instead of working it out in stride, she stumbled
through her words and occasionally asked the audience
for requests, which sometimes led to further
indecisiveness and long pauses. Towards the end of the
night, she thanked everyone for coming and made a
point to say she made it through without any technical
difficulties. It was an unneeded comment further made
awkward when she admitted to flubbing a few verses
earlier on, though those gathered still seemed
forgiving. Aside from needing another coat of polish,
Heap is poised to be a breakthrough artist yet again
and can quite likely follow in the footsteps of her
empowering ancestors. As for those who scored the
coveted Schubas ticket, they'll certainly be able to
tell their friends about the experience when she's
playing five years, heck, even five months down the
road in a much larger location.
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