AURORA’s hilarious supply of running commentary throughout tonight’s (Wednesday) show wins everybody over, an extended laugh out loud moment that’s impossible to avoid giving into.
Especially, when she decides to comment on the Royal Albert Hall’s shape. “I really like that it’s round, because it’s like we are in a soup!”
A poignant remark from the Norwegian, alt-pop superstar, it’s a case where a combination of innocence meets razor-sharp, observational agility, a key component in the musician’s locker, which so far is proving perfectly appliable, and desired.
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Taking giant steps in an ongoing story of international success and growth in popularity, this headline show at the iconic British venue supersedes some previous accolades of the singer. Clearly thrilled by the prospect of what is playing out here, she throws herself into the vibrant, dramatic production.
Creating a lush, otherworldly space where the supremely crisp gets free, intuitive play, there is also an urgent call, a return to basics and instinct. The quintessential idea of caring with a heart is cleverly embedded in the live setting.
Her fifth album ‘What Happened to the Heart’ sets out to tackle psychological, political and environmental crisis components in a powerful thread as reimagined on this current tour.
It’s no coincidence. The artist, author, activist and campaigner’s agenda is to urge, inspire people around the globe to do some emotional travel, go back in time, to feel how pure things once were.
The ambition to go the extra mile to inform and entertain is delivered over the course of the eighteen tracks performed. Using the set opener ‘Churchyard’, closely followed by ‘Soulless Creatures’ purposefully outline the scale of the objective, to fully deserved applause.
Performing to the international crowd (her parents are in the audience), the commitment to make everyone feel part of the conversation, makes her go as far as addressing individuals with an inclusive, we-are-all-equal style that is warm and welcoming. Why limit oneself to preaching (or educating), if it’s possible to actually practice with such apparent ease?
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Lofty renditions of numbers such as ‘Murder Song’, the theatrical, Kate Bush-like ‘When the Dark Dresses Lightly’, the organ led ‘Echo of My Shadow’ and more, help generate even more energy in the space, build on the intensity of the crowd engagement, which at this point is at second to none.
It’s a fitting place for some raw political messaging. “It’s hard to be human..,” she states. “Things are happening in the world. I’m dedicating it (The River) to children we should protect in Congo, Syria, Ukraine and Lebanon. Imagine what it’s like to long for a home, long for safety.”
Vocally pristine across the concert, ‘Cure For Me’, ‘Some Type of Skin’ and ‘Invisible Wounds’ make up the encore and conclude what has been the kindest, brightest, most curious of shows.
From the sublime to the ridiculous(ly) funny, the performance leaves no doubt about AURORA’s mastery of both categories, even if it feels a bit sad to leave a concert so full of sparkling creativity, intellect and good old-fashioned laughter.
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Words: Susan Hansen
Photography: Eleanor Osada
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