One thing I love about regularly going to gigs is how each one is different. The venue, the crowd, the main act and the support all count of course; but so many other small factors play in: the time of the week, moods, and even technical glitches.
The one I went to last week brought home to me just why live music is so satisfying, no matter what happens. This was a headline show at London's Lafayette by Baby Queen as part of BRITs Week in aid of War Child. Following the release of her album 'Quarter Life Crisis’ last year, BQ embarked on an autumn tour of the UK as well as playing elsewhere in the world. Her plans for 2024 are much quieter, with nothing officially booked until a run of summer festival appearances, so it turned out that this was a rare chance to see her before she disappears for a few months, most likely to spend time in the studio. Towards the end of the show, BQ told us: "I'm working on my favourite music I've ever made. If there's one thing I've learnt as a musician it's that the music I f---ing love, that I make for me, is the music that you guys f---ing love too".
At Lafayette, BQ was supported by Lynks, a genre-bending act fronted by a masked "drag monster" from Bristol. They span dance/electronica and UK rap, at least, combined with high-energy choreographed dancing, self-effacing yet in-your-face humour.
With the setlist including their new single 'CPR' (introduced by Lynks with an explanation of how they faked their own death earlier this year) and a dance-anthem reboot of Courtney Barnett's 'Pedestrian At Best', which somehow worked really well, the performance was one of those "what just happened" experiences - whatever your taste, you can't help but get swept up in the wave of energy they exude.
Other superbly engaging moments included the dancers chowing down with a mix of enthusiasm and disgust on cucumbers during one song, and another which somehow turned a recipe for béchamel sauce into something sultry, ribald, camp and pretty funny, too.
As my good friend and gig buddy Úna put it: “The acerbic wit, coupled with fantastic stamina, ensured Lynks’ impressive performance reverberated with electrifying staccato around the venue.” For me, Lynks were the epitome of a good warm-up act: lifting the audience's mood, getting us ready for more, and also helping us discover an artist we may never otherwise have found.
Photo: Greg Foxsmith
After a few words from two War Child reps about the really important work that charity does, three band members arrived in semi-darkness to play in Baby Queen. The atmospheric backing track was pierced by venue-shaking snare-drum hits and huge stop start grunge riffs as she strolled on stage. This was the title track from her new album, 'Quarter Life Crisis' and it made for an impactful opening to her set, even while BQ seemed to struggle a bit with the vocal mic and her in-ear monitors. There were a few more of those glitches and wobbles during the first half of the set in particular, but I really don't think anyone cared (and this was a good chance for the Lafayette stage techs to prove their efficiency). Like I said, even those factors are part of the essential ingredients of what makes live music so special.
BQ was interacting with the front row of the crowd almost immediately, shaking hands, posing for photos, taking little gifts from the loyal - and very loud - fans. She hardly paused for breath even while saying a few words of introduction, and the on-stage energy remained at at least 100% for the infinitely-bubbly, slacker grunge-pop anti-society song 'kid genius', and then the brilliantly euphoric, swirling sounds of 'Dream Girl', which was supplemented by a heroic lead guitar solo while the drummer (big shout out for him, incidentally - he was brilliant) kept a thumping dance-beat locked in. This melded non-stop and very sleekly into 'You Shaped Hole' - it was one of those smooth and well-thought out transitions which a made for a definite "moment" in the set.
With four songs completed in not much more than quarter of an hour, BQ had already put on a great show, not only pouring her heart and soul into delivering her lyrics, but going out of her way to be inclusive of anyone she could see. Her on-stage presence is slightly chaotic and perhaps a little unpolished - but that just makes her more relatable; as Úna commented, this also reflects BQ’s song writing. She's not one of those overly-preened, corners-smoothed, plasticated pop-stars. She is simply herself, off- and on-stage.
At this point, BQ made a switch to the piano for '23', which she said was her favourite from the album. She was handed an acoustic guitar for 'every time i get high', and then went back to the keyboard again for a full-on rendition of 'Love Killer' which built and built until it morphed into a huge wall of dream-pop sound
Her pink strat got its first outing for 'Die Alone', which BQ introduced with the tongue in cheek comment, "If you got a Valentine, just get out!" This song really showed the beauty of her heart shining through, her presence again exuding honesty and an earnest desire simply to share her feelings with us.
After 'Buzzkill', BQ took a bit of time out to chat to us.
"I haven’t heard any of my own music for months - the last thing you want to hear on tour is a Baby Queen song. Then I was doing the sound check and I thought, f--- me these songs are good!" she exclaimed, and then revealed she has been working on new music recently. "It's a weird, isolating experience, so it's good to be here," she said, adding that this would be the only show she's playing for a while.
Perched on a high stool with her acoustic guitar, this part of the set was where BQ seemed to relax, put aside some of the issues which had affected her a little, and let her warmed-up vocal chords carry things more. 'a letter to myself at 17' came across as very close and intimate, and her voice sounded stronger and more accurate.
After 'Grow up', BQ left the stage briefly, and then came back to power through 'Internet Religion' and 'Raw Thoughts'. She returned to her piano for 'Obvious', a song about leaving home and "the sense of guilt and losing a part of yourself in that process." She built this one up with an extended monologue about just how very sad it is, and spoke of her motives for writing the song, before delivering it slowly and minimally. At first I felt a little disappointed to miss out on some of the elements of the album version which make this song particularly rich and engaging, but on the other hand this stripped-back version brought out other, differently-powerful elements. The main one was how her voice cracked as she delivered the words "I didn't know that back then, oh my God". That turned what may sound like a bit of a throwaway line into something central to the song: the emotional focal point which expressed all those intense and mixed feelings.
With that out of her system, BQ threw herself into an energised 'I Can't Get My Shit Together', pogo-ing around, tossing her hair, grimacing, and generally having huge fun. She delivered 'Dover Beach' with passion, making the song sound new and fresh, and that was "the end" ...
Well, of course not. The band's off-stage foray was predictably short; the four returned after a couple of minutes for a two-song encore, introduced by the (pretty-much rhetorical) question from BQ, "London ... Do you want me?!"
After 'Want Me' (and a quick ritual downing of a tequila miniature gifted by a fan) the next and final song was predictable, but welcomed by everyone: 'We Can Be Anything' had been notably absent from the set so far, and BQ didn't disappoint with her performance. This was a great closing number, radiating positivity and energy, and allowing the audience to leave on a high note, but with a subtle wind-down of energy.
Before playing this one, and with typical openness, BQ explained that she has been having a great time on tour, despite constantly complaining about it to her manager. This gig was obviously a highlight for her. She told us, "I was saying while we were offstage ... I'm having the time of my life on that stage. It's weird - I don't feel one bit of fear, one bit of anxiety, one bit of awkwardness - it's the most incredible feeling. It's because of the crowd that comes to my shows."
Those at Lafayette last week were truly fortunate to have shared this good time with Baby Queen, finding her at a true high point, and presenting herself to us in all her honesty.
Úna again: “As pulsating as she was honest, Baby Queen’s vibrant, effervescent and unflinchingly sincere introspection has the power to invigorate the room and have them dancing to the beat of her irresistible drum.”
Photos above: Greg Foxsmith
Full setlist:
Quarter Life Crisis
kid genius
Dream Girl
You Shaped Hole
23
every time i get high
Love Killer
Die Alone
Buzzkill
a letter to myself at 17
Grow Up
Internet Religion
Raw Thoughts
Obvious
i can’t get my shit together
Dover Beach
Encore:
Want Me
We Can Be Anything