Goldfrapp: Show Review (Beacon Theatre, New York City)

    Wearing a satin pink frock and bouncy auburn-hued curls, Alison Goldfrapp apologized to the sold-out crowd at the Beacon Theatre on April 29 for having a cold: “I sound like shit!” But that didn’t keep the pint-sized electro sexpot from delivering a stunning performance at her final stateside show before heading back to England.


    Goldfrapp’s kooky stage theatrics (the band was outfitted in white robes and long underwear), paired with Alison’s opulent, breathy vocals and sheer physicality, is mesmerizing. Her languid body morphs and bends with each enchanting synthpop composition. She dutifully marches around stage, and is at turns quite coltish–mimicking the awkward pose of a dainty marionette, channeling the euphoric vibe of a tripped-out lovechild or simply standing at the microphone, arms outreached. It’s electrifying.

    The set featured songs from Goldfrapp’s entire discography, kicking off with more ambient, down-tempo tracks from the band’s February release, Seventh Tree, including “A&E” and “Cologne Cerrone Houdini.” After Alison briefly left the stage to take care of some “technical crap” with the sound guy, Goldfrapp picked up the tempo with the heady bass beats of “Number 1” from the danceable 2005 album, Supernature, followed by Black Cherry’s raunchy “Strict Machine,” which seduced everyone out of their seats for a sweaty, glam-rock dance party. An encore highlight included an amusing “hillbilly version” of the popular club anthem “Ooh La La,” featuring a little slide guitar. The night finished with the current single, “Happiness.”





    Supporting solo act Jaymay (New York-born/London transplant
    songstress Jamie Seerman), whose large mainstream success was swallowed up by Regina Spektor comparisons, ditched her piano accompaniment for an
    acoustic guitar to sing a short set of cutesy “anti-folk” songs from
    her full-length debut, Autumn Fallin’ (Heavenly/Blue Note).