Live at Double Whammy
30 November 2024
Live Music Review by Music Journalist: Paul Marshall
Ladyhawke at The Others Way Music Festival
Having attended more live shows than Gordon Ramsay has recipes, I’ve seen it all—from the painstakingly meticulous to the gloriously chaotic. As a songwriter and musician with an ear for just about every genre under the sun, it was no surprise that tonight’s lineup at The Other Way festival served up something for everyone. In fact, it was nothing short of a sonic smorgasbord, a carefully curated feast of aural sculpting that tantalised every sense.
Ladyhawke
Ladyhawke’s live performance last night was a perfect example of the growing trend in modern pop—an over-reliance on backing tracks that made the performance feel more like a karaoke session than a live concert. It’s a pattern I’ve been noticing increasingly in major acts: the bigger the artist, the less they seem to rely on real musicianship. Ladyhawke, who played guitar and was accompanied by a second guitarist and a keyboard player, embodied this trend.
While the trio was undoubtedly competent, the lack of a live drummer and their apparent reliance on the heavy, pre-recorded backing tracks created an artificial feel that permeated the set. It almost felt like I was watching a performance in a studio, not a live venue, where the stage presence of the musicians took a backseat to the digital beats. At times, it seemed as though Ladyhawke and her band were little more than performers overlaid on top of a heavily processed track, where the distinction between what was being played live and what was piped in was nearly impossible to make out.
The sound itself was packed with energy, sure, but it felt like something was missing. With the music blaring through the speakers, I couldn’t discern much of the guitar, keys, or even the vocals—everything seemed drowned out by the omnipresent backing track. It felt like I was back in the days of Top of the Pops, where the performance was more about looking the part than about showcasing true musicianship. And honestly, it was hard not to feel disappointed by that.
Let’s be clear: I’m not opposed to backing tracks. Acts like Emerson, who opened the event, used them to complement the live instruments, creating a balanced, immersive experience where the backing was truly backing—in the mix, but not dominating the show. That’s the kind of use I can get behind. When the backing track becomes the star, however, and it’s tough to tell whether the keyboardist or guitarist is even adding much to the performance, it undermines the very essence of a live show.
There was a palpable disconnect between the band and the audience, too. Without the raw energy that a drummer and a full, live arrangement can provide, Ladyhawke’s set felt like an exercise in performance rather than a musical journey. As much as I enjoy her pop sensibilities, this performance lacked the spark of true live musicianship—the kind that comes from hours of honing your craft and delivering something fresh on stage, not just from performing over a pre-programmed track.
In the end, Ladyhawke’s set was slick and polished, but it left me longing for more. More energy, more musicianship, more interaction with the crowd. At this point, it feels like the modern music industry might be prioritising spectacle over substance, and unfortunately, Ladyhawke’s performance was another symptom of that trend.
Reviewer: Paul Marshall
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