I’ve wanted to investigate SOHN for a number of months now; the fact that tickets for one night at Electrowerkz in Angel went in such quick time that an extra evening was put on (and duly sold out as well) should have sounded the alarm to get down there in good time. Eager as I was to set up in the perfect position to soak in all the moody electronic goodness, I threw caution to the wind, swerved the support act and consequently took my place a short distance from the back of the packed-out venue. Such is the buzz that has been building around this singer/songwriter/producer – on account of his own superb output and production turns for the likes of LA songstress Banks and London’s own Kwabs – there was little room to manoeuvre inside, but that was the last thing on any member of the audience’s mind. Barring some gentle head-nodding and the occasional hip-thrust coupled with a knee-bend for when the big low notes kicked in, all attention was fixed on the front, taking in the warm, bass-laden synths as they rolled around the room, and marvelling at the precision and skill with which he used his voice to accent them. A voice that was absolutely stunning and note perfect throughout, not wavering once in the entire set.
Due to the lack of material – and that’s not to say that what we heard was deficient in any way – the performance drew to a close a lot sooner than anticipated, running just short of an hour. This could be classed as slightly frustrating in that everyone was prepared and urging for more, however it has simply put me on alert for the next opportunity to catch SOHN live.
I’ll be the one right at the front next time.