Dead Can Dance, started in the early ’80s by Lisa Gerrard and Brendan Perry, are considered one of the most influential bands around. They’ve inspired the likes of Björk, Enigma, Florence and the Machine, This Mortal Coil and Cocteau Twins. The duo are back in Barcelona to play two nights at BARTS as part of their tour called A Celebration. Life & Works 1980-2019, where they celebrate their 40th anniversary of a career filled with beautiful and eclectic music. Tonight and tomorrow.
Cellist and singer Kelsey Lu‘s experimental, labyrinthian music has spellbound listeners and earned her admiration and collaborations with some of biggest names in pop and R&B — Solange, Sampha, Florence And The Machine, Dev Hynes, and more. Lu’s latest track, released today, is technically a cover, but her version makes you forget all about the original. Lu’s version of 10cc’s yacht-rock classic “I’m Not In Love” is gorgeous and sprawling. It’s a showcase for Lu’s voice, which is excellent, and sometimes under-appreciated amid the praise for her cello wizardry. Lu co-directed the dreamy, DIY-aesthetic video for the song with artist Alima Lee.
Florence and the Machine are the latest act to record a session as part for Spotify’s Singles series. Recorded at RAK studios in London, their two-song set featured a Tori Amos cover and a selection off the UK outfit’s most recent album, High as Hope.
Lead singer Florence Welch’s vocal style has often been compared to that of Amos, so the band’s choice in cover has been a long time coming. Welch & co. specifically took on “Cornflake Girl”, which originally appeared on Amos’ 1994 full-length, Under the Pink. As for the High as Hope cut, the band launched into a live rendition of early single “Hunger”.
Calling in Amsterdam to huge acclaim, showcasing their talents as multi-instrumentalists and expert harmonisers. Cat on synths and electronic drum samples, Jane on guitars and lead vocals and Ruth switching between different instruments to create a dramatic, bold and electric live set which varies from stripped back 80s synth electronica (think New Order), guitar-led punk pop (Blondie) to R&B/funk moments (as in future single ‘Twice’ and the audacious ‘Last Dance’) and even euphoric Grimes-inspired dance builds and drops.