Natasha Khan’s last Manchester show, nearly five years ago across town at the Albert Hall , was a sedate affair, where she stripped her songs back and presented them in delicate, bare-bones fashion. This was especially unusual for her because, as Bat for Lashes, she has excelled as a maximalist, somebody who builds lavish worlds with her words and melodies and carved out her own fantastical niche in the world of indie folk. So much has changed for her since she was last here, having returned to live in London after years in Los Angeles and, three years ago, having given birth to her first child.
READ MORE: Northern Soul show with Stuart Maconie and BBC Concert Orchestra returning to Manchester following sold-out gig Plenty to write about, then, and after taking such a sparse approach last time out, you might have expected her to use the stage of the new Aviva Studios’ hall as the backdrop for a much more intricate live show. She doesn’t, though; whilst the live band is expanded from two to three, to accommodate former Ash guitarist Charlotte Hatherley, and while drum machines are used to flesh out the sound, Khan still leans towards minimalism. It makes sense in the context of her latest album, The Dream of Delphi , which is named after her daughter and focuses on the simple milestones of early motherhood, something that a quick glance over the track listing would give away (‘Her First Morning', 'The Midwives Have Left', 'Delphi Dancing’).
Bat for Lashes' collection.
