Bat for Lashes, Manchester Cathedral, 22nd October 2012 8/10

Some performers bare their heart: Morbee Kahn of The Parlotones or Billy McCarthy of We Are Augustines use their acts as outlets for their personality, regarding them as a public expression of their life. However, Bat for Lashes' stage persona is very clearly an act: the real Natasha Kahn remains elusive. She didn't engage in banter with the audience, who listened intently, more in reverence than celebration. This isn't to say that the performance was lacking energy: she was moving almost constantly on stage; her dancing a delight to watch. Despite the fact she was suffering from a cough, the musical performance too was impeccable, as she moved from drum machine to piano, guitar and auto harp. I was privileged to observe her at the front of the stage from an arm's length, and it was evident she inhabits a private world whilst performing. I wondered if even her flashes of smile were rehearsed.

Natasha studied music and visual arts at Brighton University, and at this time created sound installations in galleries. Her performance is intended to be seen as a work of art, and as such every detail is carefully planned for a specific emotional effect. This had a magical effect, but at the expense of risk and spontaneity. Her world is beautiful, but ordered; in this sense there are similarities to another artist, PJ Harvey. Florence Welch, by contrast is more euphoric and uplifting, creating a much greater sense of audience involvement. Her art feels more extrovert, yet with less of a sense of mystery and spirituality  Born in London to a Pakistani father, Natasha was a teenage victim of racism and a broken home, becoming a school truant: she found relief in music, perhaps constructing her act to provide an escape from this pain. In fact, after writing this, I saw her response to an interview question about the new album's title:
For me, it’s always about ghosts from the past that I’m trying to release. The haunted man, he represents all the songs. He’s kind of present in all the songs. He might be a soldier that hasn’t come home from war, or a lover I am looking for, or a traumatized man that needs healing.

As expected, the hour long set was dominated by numbers from her just released third album The Haunted Man. Its racy cover art provoked comment from the vicar who introduced proceedings, but Pitchfork was euphoric, awarding it 'Best New Music' status. I am more measured in my praise, finding it inconsistent, taking flight after the fifth track Laura. This ballad was my highlight of her performance, when at last I felt we were experiencing real rather than theatrical emotions, and along with the final encore Daniel it was the most moving part of the night. The backing group, including cellists and electronic instrumentalists stayed in the background, although like all else this evening were impeccable in their execution. Amongst the louder songs, Horses of the Sun was particularly stirring.

Architecture and place are incredibly important, and yet gigs all too often take place in dim, seedy basements (e.g. Soup Kitchen) or bland purpose built performance spaces (e.g. Academy). The medieval Manchester Cathedral added immeasurably to the drama and atmosphere, transforming a performance I would have admired to one which was truly memorable. Liberal use of dry ice, and in the support act smoke from an actual fire (thankfully quickly extinguished), made me imagine I'd been transported back to the middle ages. Wonderful lighting effects bathed the nave's 15th century sandstone walls in hues of purple, blue and green, whilst the generous acoustic heightened the sense of other worldliness. Stage props such as lanterns and the vintage radio Natasha held in the air during Haunted Man seemed superfluous against the Gothic arches and glistening golden altar screen.

Ultimately, I didn't find this quite as spiritual an experience as the surroundings might suggest, since I haven't yet fallen in love with all of the music on her latest album. Yet, Natasha's stagecraft was exemplary and she exuded calm confidence. Some of the pain and intimacy in the music is hidden behind a theatrical facade, yet it becomes evident when you listen. The moody, outwardly chilly emotions were intentionally contrived, and in consequence the atmosphere closer to a Roman Catholic mass than a Protestant revivalist meeting. I left in awe, grateful that live music had once again taken me on a journey in an unexpected direction. Seize any opportunity to see a performer as accomplished as Bat for Lashes in venue as unusual, and magical as this one.

Set List

• Lillies
• WAGTD
• Glass
• Travelling Woman
• Oh Yeah?
• All Your Gold
• Marilyn
• Horses of the Sun
• Laura
• Horse and I
• Prescilla
• A Wall
• Pearl's Dream
• Haunted Man
• Daniel