Music

Aurora, Roundhouse, review: a generous and jubilant show that's musically impressive


The John Lewis Christmas advert may have helped to make Aurora a star, but she’s a far more intriguing musical persona

Wednesday, 13th November 2019, 4:03 pm

Updated Wednesday, 13th November 2019, 4:30 pm
Aurora’s folky vocals are perfect-pitched, even as she energetically stalks the stage (Photo: Patrick Gunning)

Aurora, Roundhouse, London ★★★★

Back in 2015, Aurora’s cover of Oasis’s “Half the World Away” for the John Lewis Christmas advert was the Norwegian pop star’s breakthrough. That song might have been a gateway to the astonishing one billion streams she has now amassed, but its insipid prettiness said little about the now 23-year-old’s far more intriguing musical persona.

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Tonight, that art-pop prowess is on full display. She emerges in ethereal layers of tulle for a theatrical performance that is generous and musically impressive. The set list is focused on the June-released A Different Kind of Human (Step II), Aurora’s conceptual second album, which tackles climate change and society’s self-centred capitalism through the much cheerier lens of electro pop.

Norwegian singer Aurora energetically stalks the purple-lit stage with graceful purpose (Photo: Patrick Gunning)

Bursting with ear-throbbing synths and live drums, “Churchyard” is a compelling opener, her folky vocals pure and perfect-pitched, even as she energetically stalks the purple-lit stage with graceful purpose. A simple but clever backdrop with a lit-up globe – changing colour for each song – as a centrepiece, gives the impression of shifting, otherworldly landscape.

Jubilant euphoria abounds in new-album highlights such as the poppy “Animal” and the arpeggiating synth-led “The River”. The backing band meticulously recreate the album’s textures and tribal beats through numerous synths, bass guitar and live drums, no more impressively than on the rhythmic “Apple Tree”.

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The adoring crowd, many of whom have copied the star’s tribal face paint, join in the fist pumps on “Warrior” as they sing back the lyrics. Throughout, hand-made gifts are thrust at her – a generosity which mirrors her own.

This is no place for light-hearted between-song patter. Instead, Aurora prefaces the disturbing “Murder Song” with a sweet story of helping a wounded homeless man in Manchester, before turning to humanity’s darker tendencies, as appropriately red lighting bathes the stage. She gives solace to anyone feeling lonely with personal recollections of isolation, “I’m into the idea that everyone matters a lot and can make huge change if we stand together,” she says breathlessly. “I’m so honoured you open up to the music.” It could be facile coming from someone else, but when every word comes from the heart, it’s hard not to be inspired.



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