We’re kept waiting a good 10 minutes from the point where Rosie Lowe’s band take to the stage until Lowe makes her appearance, but boy, what a way to make an entrance! Gliding through the crowd assembled at the Hope and Ruin, Lowe is tall and slim and sleek – like a model from a glossy fashion magazine. Her speaking voice is equally as glamourous as she addresses the room with a hello and the band ease into the opening song, built around a hypnotic vocal sample with soulful, spare keyboards. Lowe slides seamlessly through the gears as the song grows into a glitchy swell of electronics, sub-bass and brittle percussion, and bubbles and foams with delayed vocals. It threatens to uncoil, but never does. There’s a regal refinement and poise at play.

“Worry Bout Us” is all icy soul and Lowe immerses herself in the song; liberated and uninhibited. Is she aware of the presence she has, as she spreads her long limbs out to open her arms and pull us in?

There’s some very promising writing on display tonight, too. “Control” and “Right Thing” have a nice balance of the familiar with the future as Lowe manipulates her voice through a variety of machinery to lend an edgy freshness.

Not everything is perfect – album highlight “Who’s That Girl?” fails to translate to the live environment – in fact it rather sounds like a backing track and feels a bit flat. When the band do try and inject a bit of dynamism they flirt with bogging down the majesty of Lowe’s voice in an electronic treacle.

Things really slot into place when the material falls into a triangle of influence – 90s influenced RnB, neo soul and dubstep, reshaped via Lowe’s distinctive delivery. “Woman” feels like an early classic in her cannon – a weighty dose of Soul2Soul cross-fertilised with James Blake. Gorgeous vibraphone floats over the top of a languid groove as the band find the magic blend of classic and contemporary, as Lowe’s expert vocals provide intriguing light and shade. It feels like something special is occurring in the room.
Adam Atkins