Olivia Dean, Glasgow review: 'old school glamour'
The opening night of Olivia Dean’s Art of Loving tour was a largely vanilla affair, writes Fiona Shepherd
Olivia Dean, Hydro, Glasgow ★★★
Inoffensive pop star du jour Olivia Dean appeared in silhouette against pale drapes, backlit in soft pastels. As the curtains parted, this old school glamour was soundtracked in thoroughly mellow style by a suited and booted band on a stage set which looked like it was modeled on a 70s variety show. The pace picked up moderately as they struck up the balmy Fleetwood Mac vibes of Nice to Each Other. Light summer soul vibes emanated from her brass section on Lady Lady and So Easy (to Fall in Love), a bossa nova confection “about fancying yourself”. Later, an acoustic interlude with her guitarists bore the hallmarks of a Peter, Paul and Mary appearance. Exactly what year is this?
Dean was unfailingly sweet and appreciative and her voice was a very easy listen with just a slight touch of huskiness but the opening night of her Art of Loving tour was shaping up to be a pretty vanilla affair. Her support act, London Afrojazz collective Kokoroko, outshone her for groove, energy and spirit with Glaswegian vocalist/trombonist Noushy Nanguy singing a blinder on one of their luxurious slow jams, a lovers rock reverie.
Finally, however, Dean’s brass section took their moment to cut loose on Carmen, an airy celebration of her roots, inspired by her Guyanese grandmother. She switched up her outfit and set-up to emerge on a floral-shaped B-stage for a classy Spanish guitar-accompanied ballad Loud, reminiscent of the great Randy Crawford, and a rare outbreak of modernity on The Hardest Part.
Returning to her band, she made a belated effort to bring the funk on Baby Steps and a fun and free Ladies Room, used the melody of Curtis Mayfield's immortal Move On Up to introduce the band and hit the romantic rapture of Dive before rounding off with her biggest hit, the neither-here-nor-there Man I Need.
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