Opening for Ladyhawke was Computer Magic, a girl-boy duo hailing from New York City. These two have an adorable stage presence, with the lead songstress, Danielle, tinkling over the keyboard and supplying airy vocals, while her quirky, bespeckled drummer brought rounds of energetic beats. The crowd may have been thin for their performance, but they played with big hearts, and boosted the electric ambience nicely for Ladyhawke’s entrance.

At ten past nine, Phillipa Brown (otherwise known as Ladyhawke) and her four bandmates emerged in front of a growing, enthusiastic crowd. Having only really seen Brown’s photo online, I was surprised at the distinct, 1970s Jesus ‘dos, and the genuine rock ‘n roll vibe this group emitted. I’m not sure if I expected something more outrageous, but glancing around, I realised their band tees and leather actually reflected the flashes of leather vests and pants throughout the audience. On stage, their chemistry carried a clear, cohesive, sound as well, which established Ladyhawke as a band rather than just a singer + a group of musicians.

Playing a mixture of songs from her 2008, self-titled album and most recent 2012 creation, Anxiety, the group strummed and tapped out tunes including ‘Magic’, ‘Dusk Til Dawn’, ‘Black, White & Blue’, and ‘Cellophane’. While in recordings Brown’s voice is sometimes lost and overpowered, her live vocal prowess is undeniable and strikingly different from the instrumental sounds. Whether it’s raw emotion or just personal preference, they are songs that somehow become more when heard on stage. Brown may be a woman of few words, but she and her band are obviously appreciative of their fans and success. And if you’re in the mood for evocative, engaging music created by real (actual) musicians, check out a live show and get ready to call yourself a fan.

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Commencing with the playful ‘Girl Like Me’, a definite tone is set for the rest of the album that lands somewhere between dance cave and jaded seductress. Ladyhawke’s heavily synthesized sound is not a far stretch from artists like Santigold and Marina and the Diamonds. But it’s the complex production, and the fact that Brown herself is producing each and every sound, that makes a decided difference from the others. [Side note: Her live show would be undoubtedly awesome.] Songs ‘Black, White & Blue’, ‘Vaccine, ‘Anxiety’, and ‘Gone, Gone, Gone’ are speedy and vibrant, painting multiple brainwave patterns. They’re nicely balanced by the darker themed ‘Sunday Drive’ and ‘The Quick & The Dead’, which play with more pronounced minor key beats.

Brown’s vocals are well suited to the grinding, futuristic background sounds, and at times brought me back to Ace of Base’s lead vocalist, Linn Berggren. At other times, however, her voice became lackluster and one-dimensional, in comparison to previous tracks. The shining stars of Anxiety were definitely the instruments and complicated, interlocking chords. Listeners longing for some serious vocal range and performance could leave unfulfilled.

Anxiety is clearly a work of labour and love, and the answer for those in search of a good, solid dance beat. Whatever inner turmoil Ladyhawke shares with us through her music, the compilation reflects a range of confident sounds that are far from uneasy.

Purchase on iTunes here.

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