Dropout UK @ I-Tunes Festival: Pixie Lott, The Roundhouse, Camden
Ms Lott Has Her Time To Shine At Famous North London Venue
Prior to what she proclaimed would be her longest ever set, Pixie Lott bounced onto the Roundhouse stage in Camden with a typically youthful vigour and effervescence. Looking as if she would later be attending a prom, Pixie soon worked up a sweat as she charged through a string of recognisable numbers. That she has released songs that form such an immediate connection with audiences, by the age of 19, does indeed seem remarkable.
Expressing her gratitude to the iTunes festival throughout, she seemed genuinely thrilled about this appearance, and although offering a benedictory address to Rihanna for allowing her a supporting slot on the Barbadian superstar’s recent tour, it was clear Pixie was now revelling in her more prominent role.
The night was notable for its eclecticism, as the songs she performed tended to deviate from one another. After having treated her fans to some tracks from the album ‘Turn It Up’, she then performed a medley of contemporary hits. Her attempts included songs recently made famous by Alicia Keys, Usher, Tinie Tempah (most memorable for her slightly adorable pseudo-rap), Jason Derulo and, unsurprisingly, Rihanna. The versatility she boasted during this aural montage was striking; I do not think it is too much of a denigration of her peers to imply that Lott handled some of these songs better than the original artists.
With the medley concluded, our star of the evening took a brief respite, thus allowing her superb musicians to briefly occupy centre-stage. The two- man acoustic cover of Plan B’s ‘She Said’ appeared to be a highlight for many.
Pixie then returned, and did so with a treat for her followers, as she performed a hitherto unheard track, due for release on her forthcoming sophomore album. Titled ‘Broken Arrow’, it was certainly emotive; although not particularly original, her vocal range was so impressive, it seems somewhat churlish to criticise.
And nowhere was her vocal talent more apparent than on her cover of Gladys Knight & the Pips’ ‘Midnight Train to Georgia’. Dedicated to her mother, her at once gravelly and sultry tones proved there are many different directions in which Lott can choose to turn in her career.
Expectedly, the evening ended with a rendition of her breakout hit ‘Mama Do (Uh Oh, Uh Oh)’. The mood was celebratory by this point, as the crowd’s young and old converged to exult in what had been a successful evening for the Essex songstress.