Little time has passed since we last saw Little Boots stateside, and with good reason. Since her last gig, her debut album Hands was officially released alongside a teaser EP, and Boots easily became one of the most hyped artists of the last year. In promotion of the album, she’s embarked on a tour with Canadian sweethearts Dragonette and New York chill wave trio Class Actress, which made its stop at the El Rey in Los Angeles last night. In all honesty, the last Little Boots show famously fell short of expectations, so those in the crowd who had seen her before were a little nervous about what was to come later that evening. The buzz was that she had a larger budget and was working on updating her live band (buzz supported, in part, by her twitter page).
Class Actress started things on a high note playing their entire Journal of Ardency EP, and revealing that they have a full length in the works. Lead singer Elizabeth Harper floated along the stage, enticing the audience by tugging at her hair and telling them she loved Angelenos. Dragonette came next, sans a guitarist (though no explanation was given for this), and played a decent selection of both their first and latest albums. Martina Sorbara resembled Karen O with her bob haircut, but her quirky dance moves and energy surpassed the latter as she ran through crowd favorites “I Get Around” and “Fixin’ To Thrill.”
Little Boots took to the stage shortly after ten, clad in a sequin lamé robe alongside her new three piece live band. The show began with ”Ghosts,” but picked up immediately as she moved into “Hearts Collide,” ”Click,” and “Earthquake,” shedding the robe to reveal a gold tulle dress. There were also a number of props about the stage, including mirrors shaped in her signature triangle, and an artillery of lasers. The energy this time around kept up the entire duration of the show, especially during “Symmetry,” and “New In Town,” when she pulled out a korg keytar and had at it. She even made time to program her favorite tenori-on and write a little interlude for the audience. After a short break following “Remedy,” Boots took to her piano and played an acoustic
rendition of Kate Bush’s “Running Up That Hill,” which drove the crowd into a sing-along frenzy, as well an acoustic intro to “Stuck On Repeat,” before breaking out and closing the show with the original.
Ultimately, between the lineup and the execution the show was Grade A. Whether it was the crowd’s excitement or the fact that every act was at the top of their game, Little Boots has created a live persona that’s
aesthetically and audibly pleasing, but most importantly (something that was absent before), a show that’s as fun as her well-crafted pop music is.
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