The middle part of the set is where the crowd attention starts to drift. ‘Fatigue’ ambles along with little in the way of bite, accompanied by a multitude of coloured flashlights that only serve to detract from the music itself. This is followed by the energetic ‘Flaws’ which features the prominent sound of kick drum and lots of clever changes of pace. When the same harmonies are recycled where there could have been another verse or a more interesting conclusion you’re left with the impression of a song only half finished. Introducing her take on Chris Isaak’s ‘Wicked Game’ we are told that she didn’t realise how good the song was until she saw one of her favourite artists covering it live and felt compelled to learn it as a result. It’s hard to take a track so hardened by familiarity and make it stand out but she achieves this with a subtle reworking that hinges on the ‘you never loved me’ part before building to a wonderful drum heavy crescendo. After sending her band away it’s ‘Gone’ which closes proceedings, a simple track yet one pregnant with lovelorn emotion. Performed solo at the piano, it’s a collage of haunting vocals and gorgeous soul that sits somewhere between the spine tingling chills of James Blake and a stripped back Alicia Keys. Whilst her other songs hint at her powerful voice, it’s deployed here to fullest effect, the undeniable highlight of a competent yet underwhelming set. Moore is clearly a talented young musician with a bright future ahead but she needs a larger repertoire to stand out from the masses.
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This month’s issue also features interviews with Celeste, Dream Wife, Creeper, Denai Moore and more.
These are songs to dance to at the end of the world.
The two warm, soulful voices collide in this new re-work of Moore’s original track.
Her debut full-length is out next week via Because Music.