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Kate Nash at Review

Kate Nash @ Manchester Academy
IN no other industry would you get away with talking like pop starlet Kate Nash. “How cold is it today? Like, HOW COLD is it today?” she squeals, rhetorically, from behind her velvet draped piano. 'It’s, like, well cold Kate,' we consider in reply, 'proper cold'. Write a review in such dialectal terms and you’d be sent back to elementary language classes. But somehow Nash’s particular breed of Mockney English is revelatory to this glow-stick waving throng of 15-year-old Kate look-alikes – the fever so pitched that she even gets a roof-raising holler for merely mentioning the words Afflecks Palace. Down the front, it’s like Kate Nash charades: one character dressed as a skeleton, another brandishing a bottle of Listerine, while a third floats around the venue with toy birds perched on her fingers. Kate’s set – based largely around her debut album, Made of Bricks – keeps the hysteria whipped. Mariella kicks things off, Nash’s distinctive warble plaintive as minor technical problems mar her vocals and her band struggles to iron out its creases, and clumpy reggae track Stitching Leggings and the Regina Spektor-esque Skeleton Song get early outings. Tender solos versions of Birds and Nicest Thing hit the spot while We Get On – complete with a piano riff snatched straight from Wizzard’s I Wish It Could Be Christmas Everyday – and singles Mouthwash and Foundations are obvious rabble raisers. And yet, where does she go from here? Engaging as her mile-wide smile and plinky-plonky piano skills may be, she struggles to hold this venue at the back, where there’s noisy chatter throughout. Nevertheless, Kate beams as she leaves the stage. “Ahh, fanks for ’aving us Manchesta,” she coos, “now, gerrouta my pub”. We made that last bit up, obviously, but if the singing career doesn’t work out, a part as Ian Beale’s long lost second cousin twice removed surely awaits. Sarah Walters

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