« Previous Post | Pop & Hiss Home | Next Post »

Live Review: Ellie Goulding at the Roxy

"I love those T-shirts!," Ellie Goulding said to a small coterie of young girls up front at the Roxy for the U.K. singer's debut in Los Angeles. The shirts were emblazoned with declarations of devotion to their new nascent favorite pop singer. "Did you make them?"

They had, in fact, made them. And Goulding should probably expect a few more sparkle-pen tributes in the near future. The 23-year-old's disco-bolstered, folk-bedecked pop has already made her a beloved festival act in the U.K., where such left-field things are allowed in the mainstream. But last night at the Roxy, with pretty much zero traction to date in the U.S., she gave hints that a well-oiled career may be ramping up in the spirit of label- and country-mate La Roux.

Goulding's breakout single, "Starry Eyed," is a scintillant but strange thing, full of stops and starts and reversed vocals and a big, ravey, filtered synth lurking about in the back of the chorus. It veers toward the precious at the big falsetto points (and, well, throughout the entire sparkle-saturated video), but then whips back to weird just as quickly.

It would be a fine little foundling of a single in itself, but the better part of her Roxy set seemed to cement her pop bona fides. They are considerable: Goulding's almost too perfectly named -- she tosses her goldenrod hair like its own instrument during the big dance breaks -- but she can reel off some pretty powerful drum and guitar chops when the song calls for it. And her voice, while really stylized and delicate on record, is a serious and sure instrument in person.

This has left her in a pretty unusual place in the American major-label circuit. There were at least two or three other yet-to-be-uncorked singles (she only has an EP out in the U.S.) that felt absolutely huge -- "Your Biggest Mistake" has an elastic bounce to its chorus that recalls the work of a certain good Doctor, but leavened with a kind of super-earnest Hotel Cafe folk in the verses. It could make Nic Harcourt plow his car into a ditch in amazement if it came on during drive-time NPR. "Salt Skin" is a perfectly slithery bit of cold wave brightened up with Goulding's big, reaching melisma and sputtering drums. Money-shot ballad "The Writer" never got a chance to realize its fate as a closer on the "Hills," preferably a breakup sequence with helicopter shots of Laurel Canyon. It's sugar, but expertly refined sugar.

Yet she clearly wants to assert some more rarified influences. Goulding covered both Midlake's "Roscoe" and the Temper Trap's "Sweet Disposition" in her set, which was an oddly yupster way to make her American first impression but it seemed to go over well with her assembled throng of early-adopters. Goulding's exactly the kind of artist that used to get huge in England and just brick in America -- too weird for the radio, too savvy for the knives-out indie kids.

But if Little Boots can demolish a Coachella tent and La Roux can get play on Power 106, there's no reason "Starry Eyed" can't do the same by next summer, and she's got the presence to split the difference between those worlds handily. Maybe we're looking at a third way to make it in America: one where you can get written up on Discobelle and still have teens write your name in puff paint on their shirts.

--August Brown   

 
Comments () | Archives (4)

Very cool show last night - although I'm not sure the songs are are 'strong' as you say they are, August. I found them un-memorable.

Her drumming antics were cute and definitely added an original (although Sheila E might argue) flavor...

I just don't think Pop radio in the U.S. is going to embrace this. Remember Kate Nash? Me neither.

She's quite pretty though!

This is an excellent review. Ellie is a great performer and she is multitalented . Her sound is folk/ pop / electronica. As her true fan I can tell you that her stage presence is inviting and pumps up the crowd. Two months ago when I first heard one of her songs, I was hooked. The beat and her voice blend so well it's infectious. Overall she is a great artist rising to the top.

August you're right, Vanessa you're wrong. Ellie is not another pop singer who's in it for the fame and fortune...she's a long term creative artist with a passion and character thats often found deeply lacking among the major Labels...Cherry Tree has a real treasure on their books who, if left to follow her own creative devices, will be absolutely huge throughout the States. She is quite simply the most creative and original female artist to come out of the UK since Kate Bush.
What we got in LA the other night was just a very mild taster of some huge waves of creativity to come.

So I just re- read your review August, and realized I misinterpreted most of it. I do not believe it would "brick in the US" as you put it, because this genre of music could be easily played in the clubs and fashionable hot-spots. Just as you said La Roux made it to the top, then why should we doubt Ellie's capability. As you can see she had two sold out shows in the US...I believe this tells us a bit about the future.


Advertisement
Connect

Recommended on Facebook



In Case You Missed It...

Video



Recent Posts


Tweets and retweets from L.A. Times staff writers.

Categories


Archives
 



Get Alerts on Your Mobile Phone

Sign me up for the following lists: