Bat for Lashes at the Barbican

Natasha Khan, better known on stage as Bat for Lashes, is a London-born multi-instrumentalist and singer-songwriter. Within the past 18 years, Khan has produced six studio albums and a handful of tracks made for huge film scores, making for an extensive and impressive discography. The singer prides herself on the universe she has created for Bat for Lashes, and last night, Khan, along with bandmates Laura Groves and Charlotte Hatherley, arrived at Barbican Hall with their hearts on their sleeves.

The Barbican is a very intimate venue where there is no general admission standing room and sitting is encouraged over dancing; this only benefitted Bat for Lashes’s aesthetic. Although fancy lighting, confetti cannons or glitter bombs can be great additions to a gig, a Bat for Lashes show does not require any extra fluff; the singer’s mesmerising contralto vocals bounced off the venue’s walls to create a mystifying experience all on their own. 

The opening tracks, At Your Feet and The Dream of Delphi, established the out-of-this-world, ethereal atmosphere as techno-pop styles meshed with a classical, lullaby-like piano. The next track, The Hunger, featured an organ that complemented Khan’s hearty, yet wispy voice beautifully; when the bridge played out, all eyes were glued to the single spotlight on Khan as she gave her all, making it an impactful and memorable way to begin the night.

A Bat for Lashes show contains certain elements that any other performance would not: the music is like no other, the singer is relatable and extraordinarily down to earth, and the performance art is unique. Juxtaposition comes to mind at a concert like this. The Dream of Delphi, for example, utilises nature sounds and mixes them with heavily electronic ones, and the same goes for Mountains, The Wizard and Sarah, which are gracefully haunting.

Let’s Get Lost was originally made with American singer-songwriter Beck and featured in the third Twilight film. When performed live, Khan, although without Beck and in a more acoustic setting, maintained the same soul and misty feeling, if not more so.

All of the songs after Let’s Get Lost took a more calming, slower and witchy turn as Bat for Lashes became more lyrical and philosophical. A cover of Baauer’s Home was completely transformed, and the singer made it her own. She directly tied it to her personal life as she gave a moment to connect with the audience: Khan discussed her daughter, motherhood, poetry and her love for life. Letter to My Daughter was the result of this humble conversation, and the poem that followed after, If You Be the Universe, was eloquently said and captivating.

After all 16 songs from the main set finished, Bat for Lashes received a strong standing ovation from the nearly packed Barbican. Tears were shed after the delicate moments that had just passed, but they were quickly dried as the band came back for three more encore songs to satisfy the engrossed crowd, and another standing ovation followed, of course.

Overall, Bat for Lashes has all of the experience in the world regarding perfecting the sound she wants and performing the songs she loves, but still makes self-effacing comments and remains true to herself. Although the setlist contained many thought-provoking and heartfelt tracks, attendees most definitely left with their heads held high. Bat for Lashes is entirely unique, and there is no doubt that her final two shows of The Dream of Delphi Tour will be striking, personable and marvellous.

Taryn Crowley
Photos: Guifre de Peray

For further information and future events visit Bat for Lashes’s website here.

Watch the video for the single The Dream of Delphi here: