Bat For Lashes, Live At End Of The Road: Sep 3, 2016

The Bride arrives at EOTR 2016

Trending Now

Watch the first episode of Paul Weller’s Black Barn Sessions

Featuring Miles Kane, The Mysterines and a new version of Heavy Soul's "Brushed"

The 26th Uncut New Music Playlist Of 2019

Stirring selections from Greg Dulli, Cornershop, Trent Reznor, Squirrel Flower, Jason Williamson, Antibalas and more

Van Morrison: “I’m current – I’m always current”

The Celtic soul warrior asserts himself in the new issue of Uncut

It’s a brave headline set that expects people to play along with the concept, but Bat For Lashes’ Saturday night performance is so naturally inviting that the specifics of her new album almost seem irrelevant. The Bride is a narrative about a woman jilted at the altar after her groom perishes on the road, which sounds significantly more bleak than Natasha Khan’s luxurious musical interpretation thereof.

This is Khan’s fourth record, and its two predecessors prioritised bangers over ballads, not least Two Suns’ Ivor Novello-nominated “Daniel” and The Haunted Mans “All Your Gold”. Where those songs were notably ebullient, Khan infuses The Bride’s spectral ballads with a classic Carpenters-like sensibility, filled with tumbling melodies and soothing vocals. Her melodies are instantly magnetic and seductive, not least the languid “In God’s House”, and “Sunday Love”, where her ghostly intonation meets stuttering percussion.

“Sleep Alone” is glinting and lovely, and Khan prefaces “Travelling Woman” with a tribute to her stage predecessors Goat. The Bride bonus track “Clouds” is delicate, as is “Close Encounters”, a swooping thing that heralds the Spector-ish “What’s A Girl To Do” and the synthetic tremor of “Glass”. The pace picks up with Goonies-indebted “Daniel”, and then dips back down with “Laura”, a ballad that encapsulates Khan’s aptitude for balancing dark and light, The fullest realisation of her concept comes when a man proposes live on stage; his partner says yes.

Advertisement
Advertisement

Latest Issue

Inside: the highs and lows of Bowie’s breakthrough, the best albums of the year, interviews with Bill Callahan and Van Morrison, and more!
Advertisement

Features

Advertisement