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ICYMI LIVE REVIEW // SIGRID supporting George Ezra at M&S Bank Arena, Liverpool

Updated: Aug 13, 2019




Words by Ali Lowery


Walking up to the Echo Arena – now catchily called the M&S Bank Arena – on a Saturday night with the chill wind rolling off the river Mersey, the arena slides into view perched on the edge of Kings Dock in Liverpool. A steady flow of people are making their way into the venue, many of whom are families. In some ways it shouldn’t be a surprise to see so many families coming to see George Ezra, with his latest Album ‘Staying at Tamara’s’ generally lending itself to heavy upbeat pop infusions.


What is interesting is how many people are turning out to see the support act Sigrid. Walking into the venue the grumble of the wind gets muted and is quashed by the excitable chatter of the audience queuing in hoards for drinks and food, making their way around the edge of the main auditorium before the night kicks off.


Moving between the increasingly crowded foyer and into the performance area there is a noticeable lull. Heading down toward my allocated seat people begin to trickle down into the standing area in the middle of the room. I’m sitting there for a while as the room begins to fill. There is only one main support for George Ezra’s third date of his latest tour, Sigrid. The lights dim and the now groaning room has fallen quiet – with only a few people not caring enough to stop chattering and loudly eating their nachos.


Sigrid has made a fast ascent into the mainstream orbit of music. She has been making music for a few years, releasing ‘Don’t kill my Vibe’ in 2017, but arguably one of her latest singles ‘Sucker Punch’, has really fought its way into the spotlight, appearing as an opener on Later…with Jools Holland in 2018. It is no surprise knowing this, that as the 22-year-old leaps emphatically onto the stage to the opening bars of ‘Sucker Punch'.


Accompanied by her band standing against a black curtain backdrop with three big arched windows painted in white. It is only after experiencing the whole night, including George Ezra’s shimmering performance, that the set designers have woven a theme of backdrops through both act’s set. But for now, the backdrop leaves little to the imagination, forcing Sigrid to be the focus of attention.


This she does with ease. The response from the crowd grows as does Sigrid. With the audience response reflecting that of a boiling kettle, everyone starts off a little unsure, lukewarm – but as her set finds momentum the atmosphere heats up reaching other well-known songs like ‘High Five’ and ‘Strangers’. There is a feverent buzz amongst the audience, reaching a squealing boil as she closes.


It is often obvious when an audience has not listened to a support artist before the event, and it is even more painfully obvious when they don’t care either. What is hard is going from a disconnected audience to a full embrace by the end of a forty-minute set. Sigrid possesses the quality necessary to make it to the big time.

Utilising two square plinths either end of the stage, she dances with abandon reminiscent of Lorde, giving herself over to the music. There was a dip with the performance of ‘Business Dinners’, which didn’t land as expected, the audience appearing to favour more synthetic pop.


Synth pop can read negatively, but when done well it is infectious, dynamic in its delivery. Since her performance at The Great Escape in 2017, where we all saw an undisputed live performance worthy of a pop elite in the making – the release of her first full length album ‘Sucker Punch’ just the day before we saw her in Liverpool really shows her growth and confidence as a feminine force in pop. Next time we see her, it will undoubtedly be her own stadium tour and much deserved. Sigrid is a star in waiting and certainly not an artist to be slept on.


Tap play to listen to Sigrid's Debut Album 'Sucker Punch' below 👇

#sigrid #georgeezra #liverpool #mandsbankarena #suckerpunch

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