Natasha Khan loves a concept. One of Bat For Lashes’ albums documents the inner journey of a woman who honeymoons alone after her fiancé’s killed in a crash on the way to their wedding. The most recent — inspired by Los Angeles and ’80s culture (in particular teen vampire film The Lost Boys) — has a character named Nikki Pink investigating a mysterious biker gang, the Lost Girls.
The same attention to detail goes into her live shows. In an interview filmed during rehearsals for her Meltdown performance, Khan speaks about embodiment, genuine connection and community, energy exchange, using dance to tell stories, introducing the new persona of the Mother Witch, the importance of growing and constantly trying to push herself, and the next Bat For Lashes album (inspired by becoming a parent).
In practice that amounts to a vivid, tightly choreographed production where physical expression is as important as the songs themselves. Dressed in an ornate crochet-and-tulle costume, Khan moves like a trained modern dancer, captivating the Southbank Centre’s Queen Elizabeth Hall with evocative movements, her impeccable voice, and little else. The stage is almost empty, apart from a full-length mirror, a few prop boulders, a couple of musical instruments, and violinist Violeta Vicci (also on viola and occasional backing vocals and drum). With backing tracks used where needed, there’s not even a band to distract.
Physically (and emotionally), Khan has left herself nowhere to hide — especially during the opening trio of songs. All taken from the upcoming The Dream Of Delphi, tonight’s only the third time they’re being aired in public. So there’s not even audience familiarity to fall back on. And, with Vicci sitting all three out, Khan’s up there all alone, enacting what she’s described as “quite raw protective, ritualistic moves” contrasted by domestic actions like folding laundry and rocking a baby. All the while she sings the new tracks — gentle piano ballad, flitting synth soundscape, stately paean built around a retro-keyboard loop that’s suddenly transformed by skittish beats — with just as much emotion.
A run through synth-powered Lost Girls highlights like The Hunger and Mountains — never given their due on stage thanks to Covid — follows, complete with Khan singing to the mirror and beating a transparent drum that lights up as she hits it. Carefully considered touches like this may suggest a performance lacking spontaneity or the human element so essential in the live arena. But between songs she’s as conversational and relaxed as ever, chatting with her hometown audience, sharing personal anecdotes, laughing when she momentarily forgets what’s next, and encouraging the traditional mass howling before Horse And I.
That vibrant personality works its way into the music too, with Khan presenting fresh arrangements of key tracks from her past. All that Deep Sea Diver needs is a Steinway and voice. Daniel becomes sparser and slower (but sexier). Kids In The Dark is stripped back to just piano, lyrics, and brief detour into Cyndi Lauper’s True Colours. Sleep Alone is sung to the accompaniment of handclaps. Laura is all violin and vocal. And, although Tahiti isn’t a world away from the original, the combination of strings, Steinway, and dramatic silences has never sounded this compelling — especially as the intensity builds.
At one point Khan admits to two months of sleepless nights worrying about this show. Yes, she’s taken many risks. But she needn’t have worried. Meltdown is all about unique experiences like New York Dolls reuniting for the 2004 instalment, Patti Smith performing Horses in full, or Jarvis Cocker, Grace Jones, Nick Cave, and Pete Doherty singing Disney songs. Khan’s extraordinary performance more than fits the bill.
Meltdown Festival: Bat For Lashes
Queen Elizabeth Hall, London
15th June 2023
Photo: Victor Frankowski
- This article originally appeared on Louder Than War.
Nils van der Linden 