Photo: Press
A mesmerizing light display, albeit a little blinding, opens Låpsley's set at Shepherd's Bush Empire. The Southport native's silhouette takes centre stage, accompanied by a three piece backing band. As she launches into the opening notes of 'Cliff', the audience go silent, captivated by the singer's words.
There is something very interesting about Låpsley, real name Holly Lapsley Fletcher. Her vocal range could rival some of the world's finest and yet she is oozes modesty. "Fucking sold out show, that's mad" she declares, before telling the audience about one of her pre-show errands; "I got my legs waxed especially for this and then I wore jeans". She is self-assured and unassuming, her thick Southport accent on show.
She makes her way through the track listing of her debut album, Long Way Home, as a romantic light show illuminates the stage. Her soulful yet raspy voice layers over trip hop beats. If Adele and Years & Years were to have a baby, Låpsley would be it. Mixing minimal electronic production with beautiful and emotive songwriting, she has created a unique musical identity. At times, she duets with herself. Using a two microphone trick, with one set to a distorted lower register, she is able to create the illusion of a male's voice and add another level of intimacy to the set.
'Painter, Valentine', one of the slower songs in the set, sees her take a seat at a keyboard. It is in the stripped back moments that Låpsley's talent shines brightest. Layered over gentle synths and a mellow beat, her breathtaking vocals echo through the building. A beautiful cover of Kate Bush's 'This Woman's Work' is another highlight.
Later, German drag performer Shiaz Legs takes to the stage for the encore. She lip-syncs and dances to 'Operator' while Låpsley stands aside. It is an unexpected moment but one the crowd laps up. "This is my last song because I only have one album" the songstress shrugs, launching into her most successful single, 'Hurt Me'.
At just 20-years-old, Låpsley's ability to command an audience is nothing short of impressive. Her unique and inventive style has allowed her to sell out venues like Shepherd's Bush Empire with ease. Charming and subtle, Låpsley has confidently figured out how to translate her intricate and complex songs into a live setting. As she takes her final bow and dashes off stage, there is a desire for more. Yet with a wisdom beyond her years and the world in the palm of her hand, no doubt there is plenty to come.
