Girls in oxfords and guys in black-rimmed frames greeted the freezing night air with more than ringing ears and sore feet after Kate Nash’s sold-out show on Nov. 12. Cat’s Cradle probably birthed about a hundred feminists that evening, leaving fans with a sense of empowerment and new found respect for the singer’s candid defiance.
Charming an audience is Nash’s forte; pauses between songs were filled with ramblings on messy break-ups, bad friends, technology and the absolute disaster that is today’s society. Each anecdote was seasoned with a string of expletives and the singer’s sly smile sent laughter through the crowd time and time again.
Opening acts Skating Polly and La Sera, both comprised of strong, female leads, highlighted Nash’s musical yin and yang. Duo Skating Polly thundered its way through a handful of songs, wailing and shouting right up until the final pluck of the guitar. La Sera adopted a milder approach, fusing soft vocals and steady bass in an effortlessly haunting fashion.
The set began with Girl Talk’s “Sister,” a spooky intro silencing the room before the loud, unbridled chorus erupted, lighting the packed venue like a fuse. The singer’s traditionally blunt lyrics and choppy transitions were revamped on her newest record, adding an unexpected intensity to her live shows.
New standouts included “OMYGOD!” and “Fri-end?” which blend heavier rock ‘n’ roll with subtle ’60s hooks. Nash’s all-female band, clad in matching black dresses, ensured that these heavier, guitar-damaging songs still embodied a powerful feminine quality.
Nash’s older songs received the strongest response, with some fans screaming for early hits until assuaged towards the end of the set. “Kiss That Grrrl” and “Do-Wah-Doo” from 2010’s My Best Friend Is You made early appearances, the latter inspiring Nash to ditch her guitar and jump into the crowd with a microphone in hand.
Her relentless energy and devil-may-care attitude make Nash one of the most enjoyable singer/songwriters to see live. She charges into track after pounding track without hesitation, each song drenched in a distinctive London accent and climaxing in a feminist punch.
Outspoken by nature, Nash thrives on oddity, both in music and style. Dressed in a billowy, cherry-red dress and chunky black sneakers, she dared the crowd to question her, to challenge her beliefs. Her lyrics bring social issues to light rather than stuffing them under a rug of meaningless, poppy melodies.
“Death Proof” wrapped up the set with Nash falling back into the crowd, bass in hand, as fans swarmed the already cramped stage. The audience surged forward shortly after in anticipation of “Merry Happy,” the final song off Nash’s 2007 debut album Made of Bricks.
Few artists can smoothly transition from cheeky teenager to edgy, indie rocker, but sitting behind her piano, Nash embodied the ideal artist — passionate, talented, and brave enough to smash today’s social norms to pieces.
— Kelly Cook
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