She devoted the punchy, clipped verses of Push Me Down to the lads within the music trade who’re allies till they aren’t. It’s a proper hook at misogyny, and also you’d higher imagine the grit in her voice. Inside Out, set to a bluesy bassline, was moodier and extra meandering.
Clark was backed by a good, cohesive four-piece band – all gussied up in Nashville-style white fits and pink tees – in addition to a sax soloist who popped on stage for a brassy interlude within the as-yet unreleased Overlook About London.
She slowed the beat down by way of covers corresponding to Taylor Swift’s The Man – a pleasant counterpoint to the aforementioned Push Me Down – and The 1975’s vivid, catchy It’s Not Residing (If It’s Not With You).
Although her backing band was stellar, when Clark went solo she commanded the stage with a matchless acuity. On slower, glowing songs corresponding to Excessive Tide, impressed by a poem written by her mom, she gave herself time to linger on sustained notes. Within the EP’s gently hopeful eponymous ballad, The Making of Me, she took to the keyboard herself.
Imogen Clark could not have tailor-made her file to this period however her vibrant, bracing songs – sort of like a dip in a chilly September sea – may simply be one of many issues to hold us by way of it.